Swimmer in the Econo-mist
Deutsche Guggenheim berlin
JAMES RQSEMHJS^
cono-mist
James Rosenquist:
The Swimmer in the Econo-mist
Curated by Robert Rosenblum
Deutsche Guggenheim Berlin
March 7 -June 14, 1998
c 1998 The Solomon R. Guggenheim
Foundation, New York. All rights reserved.
All works by James Rosenquist reproduced in
this book G James Rosenquist/ Licensed by
VAGA, New York Used by permission.
All rights reserved.
ISBN 0-89207-204-0
Guggenheim Museum Publications
1071 Fifth Avenue
New York, New York 10128
Designed by Margot Perman, Real Design
Printed m Germany by Cantz
Photo credits; cat nos. 1, 3, p 12 Lee Ewing,
cat no 2: Peter Foe, cat. nos. 4-15, p 34:
Ellen Labenski, fig. nos. 1, 11: courtesy of the
James Rosenquist studio, fig no 3 t 1998
The Museum of Modern Art, New York, fig.
Rhemisches Bildarchiv Koln; fig. no. 6:
George Holzer; fig. no 7 c 1996 The
Metropolitan Museum of Art, fig no. 8:
c 1998 Estate of Pablo Picasso/Artists Rights
Society (ARS), New York, photo by Giraudon/
Art Resource, New York, fig. no. 10: all rights
reserved, The Metropolitan Museum of Art
Images of Rosenquist in his studio by
Gianfranco Gorgom
Front cover- The Swimmer in the Econo-mist,
(painting 2), 1997 (cat. no 2)
Pp 6, 24: James Rosenquist working on
The Swimmer In the Econo-mist in his studio in
Aripeka, Fla., 1997
P 12: Detail of The Swimmer in the
Econo-mist (painting 3). 1997 (cat. no. 3)
P 18 Detail of Rosenquist in his studio
P. 34 Detail of study for The Swimmer in the
Econo-mist (painting 3), 1997 (cat no. 11)
Contents
7
Interview with James Rosenquist
ROBERT ROSENBLU M
The Swimmer in the Econo-mist:
The Paintings
Swimming in the Mist:
Another Time, Another Country
JUDITH GOLDMAN
The Swimmer in the Econo-mist:
Studies
Select Exhibition History
and Bibliography
JANICE YANG
Foreword
3 50 \ 2" 50 in. 3.50 \ 14.60 m and 3 50 \ 6.10 m — this, in a nutshell,
is the formal description ofjames Rosenquist's new work, rhese are the
uniisu.il dimensions of The Swimmei in the Econo-mist, a three-part
painting made specially b\ the American artist for Pouts, he
Guggenheim Berlin.The first showing of a work commissioned for the
gallery, its presentation follows the historically focused inaugural
exhibition. Visions of Paris. Robert Delaunay's Series, and more exhibitions
are to tome
mmissioned works form an important part of our program.
i )ur intention is to contribute to Berlin's cultural life with relatively
compact but out oi-the-ordm..r\ exhibitions tailored to our space. The
response has been overwhelming. More than 45,000 visitors saw
Delaunay's Paris paintings. I ongei opening hours and tree admission on
Mondays were positively received, as were the guided tours and
lunchtime lectures. Our special events, including a "Soiree Delauna)
and a film series entitled "Visions of Paris," were sold out.
Rosenquist is one of American Pop art's most important
representatives. He achieved international acclaim with his first large-
s< ale canvas, /-///. completed in 1965.The biggest Pop art painting in
the world at that time, with a width of more than twenty-six meters, it
w.is shown after its debut at the Leo Castelli Gallery in New York at
several ol Europe's most important museums m a traveling exhibition
In subsequent years. Rosenquist has produced further "big
paintings" Prior to The Swimmei in the Econo-mist, he painted The Holy
Roman Empire through Check l>><nit Charlie (1994), which alludes to
Berlin
Rosenquist gained wide recognition in Germany in the 1960s.
The collector Peter Ludwig met him in 1968 and soon afterwards
purchased Horse Blinders (1968-69), tod. in one of the artistic highlights
of the Ludwig Museum in Cologne The work, which is more than
twenty-five meters wide, is one of Rosenquist's "environmental
paintings." the term for a series of paintings that, like I - I I I. cover the
walls of an exhibition space to create a "room" themselves. The Swimmei
in the Econo-mist, created for Deutsche Guggenheim Berlin's gallery, is
such a wraparound work, but transcends earlier ones in terms of size
To show historically important material from a contemporary
perspective .\n^\ support the creation of new work — this mission defines
our cultural activities in Berlin, now and in the future.
Dr. Rolf-E. Breuei
Spokesman of the Board of Managing Directors, Deutsche Bank AG
Preface
One of the primary missions of the Deutsche Guggenheim Berlin is to
commission major works by the most prominent and promising artists
of our time. The elegant simplicity of the Richard Gluckman-designed
gallery is intended to provide an uniting setting in which artists can
realize their own visions. With the spectacular suite of three paintings
entitled The Swimmet in the Econo-mist (1997-98), made expressly for our
new exhibition spate in Berlin, James Rosenquist has given this program
a remarkable launching.
Rosenqmst and 1 began discussions regarding the commission in
November 1996, the month of the most recent presidential election in
the United Stales: the paintings were completed in 1998, the year of a
general election in Germany. The timing proved to be auspicious. As the
artist has repeatedly said, tor him. election years are tilled with the
possibility ot change, kosenquist's first two monumental room-scale
works, /-/// (1964-65) and Horse Blinders (1968-69), were also begun
in election \ ears, during a particularly charged period in American
history. It was a time of prosperity, but also of the Vietnam War, race
riots, and political assassinations
Like those murals from three decades ago. The Swimmer in the
Econo-mist is a history painting for our time and is realized on the
grandest scale. Indeed, it .s a painting about change— in the world and
for the artist himself It is. in Rosenquist's words, about "the tumult of
our economy," the upS and downs experienced around the world and. m
particular, m the United States today and in Germany in the years after
reunification. The swirling vortices that barrel across the vast expanse of
these paintings and give the work its exceptional dynamism mark an
entirely new direction m the artist's visual vocabulary
Rosenqu.sts own history at the Guggenheim stems ba.k to his
inclusion in Lawrence Allow avs Six Painters and the Object in 1963, i
milestone exhibition for the emergence of Pop art in the United States
We have ,ont. nued to express our commitment to Rosenquist's work,
not only through our involvement with this commission, but with the
recent acquisition of his Flamingo Capsule This important mural from
1970, with motifs that reappear in The Sim, una in '/" Econo-mist, is
among the works that form the foundation of the collection of the
Guggenheim Museum Bilbao
Roseiuiuist is well known in ( German} Sin< t the mid- 1960s, his
paintings have been included m innumerable gallery and museum
exhibitions throughout the country, and he was the subje< I ol a mid
career retrospective at the Wallraf-Richartz Museum in < ologne in
1972. '/'//<• Strtiiimci in the Econo-mist, however, is his first majoi
commission tor the ( it) oi Berlin.
A commitment to enriching the arts in Berlin is central to oui
partnership with Deutsche Bank M\ thanks ^^ especially to Dr. Rolf-
E. Breuer, Spokesman of the Board of Managing Directors, who with
tremendous interest and goodwill has carried on the program of enlight-
ened support of the visual arts originally conceived by Ins predecessor.
Hilmar Kopper, Chairman ol the Supervisory Board I am also deeply
grateful to Dr Ariane Grigoteit and Friedhelm Hutte.who with intel-
ligence md professionalism have successfully coordinated with the
Guggenheim stafFto realize this exhibition
Throughout the planning stage of the commission, the expertise
ot Lisa Dennison, Chief Curator and Deputy Director and of Robert
Rosenblum, Curator of Twentieth-Century Art, proved invaluable 1 am
also grateful to Professor Rosenblum tor having organized this exhibition.
and to fulia Blaut, Assistant Curator, who worked with him so ably
My deepest thanks, however, go tojan.es Rosenquist himself Mis
intense work over the past year has ensured the success ofthis presen-
tation and its accompanying i atalogue.
Thomas Krens
Director, The Solomon R. Guggenheim Foundation
M.
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m.
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Interview
ES ROSENQUIST BY ROBERT ROSENBLUM
IBLUM: Jim, going back through
the decades, from the 1960s to the present,
I realize that you've had any number of big
public commissions in your career.
JAMES ROSENQUIST: Not many, about twelve
Well, that sounds like a lot to me. Anyway,
for starters, I'd like to know how you feel about
this one in terms of your earlier murals. How
does it fit in?
JR: In 1964, I decided to do a painting during an
election year
RR: That's when you started F-lll?
JR: Yes. I had quite a bit of life and painting experi-
ence up until then, doing industrial painting and
painting large signs in Brooklyn andTimes Square
I thought I'd start out nonobjective but optimistic
As the election year began, I wished for the best.
1 wondered which wa\ the painting would go
I thought about inv existence as ,1 person living in
the United States, where I came from, where I grew
up — the whole thing — and 1 wondered what 1
could do. What did life mean to me!
So that's when I really began wondering, Was m\
life a joke? All I knew was what I read in the papers,
and things happen in an election year People hope
tor change, but artists .ire more optimistic IheViet-
11,1111 War had started. Earlier. I had met Paul Berg,
who did a piece on Roy I lchtenstein and myself for
the St Louis Post-Dispatch, and in '''4 he had just
come back from seven combat missions And Paul
brought that information directl) to the people in
St I ouis 1 hex got the news trom the horse's
mouth.
At that time, my parents lived in Dallas, Ie\as,
and John Kenned\ had (list been assassinated I had
been in Dallas a month before his assassination
People were bored I here was ,1 terrible heat wave
People were dying Old 1. idles were out shooting
their pistols .it target practice. There was .1 Dallas
c owboys football game and fans were throwing
whiskey bottles, breaking them in the hot streets of
Dallas There seemed to be a feeling of outrage
fohn Kenned) tame into that situation, and for a
long time I thought he was killed b\ the weather —
the weather killed him because everyone was so
aggravated at that time. [Laughs.]
Later. I returned to Dallas and visited an amuse-
ment park billed Six Flags Over rexas. I saw a B-36
bomber sitting there, resting quietly, obsolete.
The bomber was just a decoration?
JR: Yeah And I savs imitation nature being put forth
to children for amusement rhere were ceiling fans
mounted in trees outside to give people a breeze.
There was .1 poor live parrot 111 a cage m a simulat-
ed cowboy-western 1890s town rhere w.is .1 loud-
speaker m the cage, saying, "Hi, I'm Polly the parrot
Who are you. little girl?" And I remember this poor
parrot being tortured by this loudspeaker I hey also
had a riverboat in a fake ditch the) had dug, with
some big gear propelling the boat around, and I
dreamed that this was some unseen pilot propelling
our economy. At that time. General Motors was the
highest-paid contractor for the Vietnam War I here
were |iist a lot of cra/\. ridiculous things going oil. I
felt that all the obsolete airplanes— all the boinbcts
built for defense but never used -were responsible
tor allowing people to live a certain lifestyle, to have
three and a halt . hildren and two and .1 hall i ars and
.1 house in tin- suburbs
Anyway, there were m.in\ reason-, for doing the
/-/// painting I p. tinted it in iu\ Studio it 42''
Broome Street 1 had man) visitors there from
Christo t<> I co |t astelli], lleana [Sonnabend], Bob
K.iusJienberg, Steve Pax ton. Alan Solomon
[Michelangelo] Pistoletto, Virginia I )wan, I >ii k
Smith, i lot ot others Richard [eigen brought
down movie people. Anyhow, the whole painting
was taken eventually as a gre.it anti-wai paii
\nd th.it w.is largely the criticism ot th.it picture
RR Wasn't this the first picture of yours that
produced the virtual reality of a completely
artificial, wraparound environment, like what
surrounds us now in the mural you're doing
for Berlin? 1 mean, a completely synthetic
world, where you can't find a beginning, a
middle, or an end — a continuous, 360-degree
experience?
JR: It w.is like a wr.ip.iround fol the esc I used fluo-
rescent, I >a\ -( llo i olors I used jukebox paint on pan
of it. The idea w.is to look .it something in the paint-
ing and s.i\." that .uliit is that color because ot this
color coming m here
What I didn't control is the door or the ceiling.
Later on. m 1970 I did a wraparound coloi paii I
with dr\ icc fog to eliminate the flooi [Horizon
Honn Sweet Home] Hone Blinders [1968 69] was also
a wraparound painting ( arlo IKtkert. win. worked
with Pontus Hulten ai the Moderna Museet in
Stockholm, said to me, "We always hang., hard
painting on the right when you walk in the room
And we ilv, Lys hang i sofi painting on the left
because, as you know, the left is always softer." I
thought, that*s funny What's softer; W hat area is
softer than the other? So I thought, instead of going
left or right, win not go straight ahead? And the
result was Horse Blind n
So how many wraparound paintings are
there altogether?
JR: Three
RR: F-lll, Horse Blinders . . .
JR: And Horizon Home Swet I Honn
RR: Oh, yes.
JR: With the I
So that had dry-ice fog coming up from
the floor.
JR: 1 also thought of doing .1 hydrogen fog on the
ceiling, but I don't like technology that much ["hat's
wh) I like painting, because it's an illusion. Sculpture
is fast inating diffii ult, exti lordinary But 1 haven't
done much of it -except Fumbleweed [1963-66] a
chrome-plated barbed-wire sculpture — because 1
like the idea of illusionism, and hov* difficult it is to
s.i\ something on .1 surface that's only a sixteenth
11 inch thick. You turn it sideways and it looks
like nothing, but you turn it full face and it looks
like something
RR: It goes with your interest in virtual reality.
It's all an illusion that looks real.
JR: Well, I don't have much of an interest in virtual
re ility.
Something might look like real metal, real
shine, real plastic, but it's just paint.
JR: It's just paint. I saw .1 Miro shov, at Pierre
Matisse [Gallery] in the 1950s, and 1 walked into the
room and 1 was just taken aback by these paintings
1 e I didn't know how (hex were done All
there was wis .1 vision He took a rag and smeared
the ■ "lo, on with a piece of silk, in very large, soft
disks that looked like they'd been airbrushed. and
then he connected those disks with hues, little
touches of color, very very beautifully done not
meeha1ne.1l. With Chinese bristle brushes. No air-
brushes There was this amazing look ot" those Miro
paintings from across the room, and then 1 dis^n
ered that it was only paint You know, that's what I
like.
I wanted to ask you how you conceived
this mural. For one thing, I'm sitting here
looking at quotations from [Picasso's]
Guernica in it, wondering whether you've ever
used quotations from other works of art in
your paintings before. I'm also looking at
quotations from your own earlier works of art,
like your recycling of passages from F-lll
and Industrial Cottage [1977]. So I'm curious
about the mood of this picture. Here we are in
the late 1990s, and throughout this mural
there is a backwards glance into the earlier
history of twentieth-century art and twentieth-
century wars and your own work. 1 would love
to hear anything you have to say about this.
JR: Well, at one point 1 thought that this painting
was going to Bilbao 1 heard that they had wanted to
get Guernica tor Bilbao I'd seen Guernica many times
at the Museum of Modern Art [in New York| before
it was returned to Spam. And so I thought I'd. start
off with elements from the past and an abstraction
of ( Guernica going mi" a reflection that goes into a
meteor with .\\) insignia on it. The idea or the mete-
or with the insignia is that during the C old War and
throughout my own history — the history ol all of us
for a number of decades— we kept taking the danger
of nuclear holocaust out from under the pillow.
examining it, and then putting it away And then one
day a few years a^k the Russians just pointed all
their missiles in another direction And no one m
America celebrated I would have thought that peo-
ple would have been like they were at the end ot
W.uld War II. w lieu my uncles went out and shot
off their shotguns
RR: Global joy.
JR: rhat global joy — never heard about it It never
happened So then by chance, according to the
media — we Started having tons of natural disasters 1
mean, we had earthquakes, fires, floods, every kind
a( thin- you i an imagine
Divine punishment.
JR: I don't know what it was And then I thought
about the idea oi Star Wars n\d sneaking all these
war weapons up into space, which we're doing now.
and how no one knows ..bout it No one knows the
real fa< ts about what our government is doing. And
then we're racing toward the millennium In other
words, the twentieth century has been a horrible
century My father, born in 1908, sav, the rise ol the
automobile, the airplane He sav, .ill these things
We've had these horrible wars— World War I. World
War II A bunch ol my relatives were in there One
got killed rhere's been .ill this In. ruble stuff. So the
century's been very dynamic, but the dynamic has
been ver\ harsh and painful And so you think, Wow,
my gosh, I hope we get that over with What we've
gotten over with in that at one point two major
powers, Russia and the United States, stopped aim-
ing at each othei But then you've got these sneak)
terrorists coming ..round, and they have completely
different ethics. They're completer) different kinds
of people But you still have optimism With v.. un-
people, you have optimism I'm still optimistic, but
this painting, like /-///. is a diary of the terrible
temper of the tunes 1 he end of the n.net\-toot
[twenty -seven-and-a-half-meter] painting looks
more optimistic, but the forty-eight-foot [fourteen-
and-a-half-meter] painting chat was shown in Bilbao
looks tumultuous
RR: I'm curious about this "Apocalypse Now"
mood. One of the things that's so striking
about this mural is the image of the vortex.
I'm trying to remember, and you'll have to
help me, when you've used it before.
JR: I never have
RR: That's what I thought. It looks totally new
to me, and it's a whole new kind of velocity.
I remember earlier works like Star Thief
[1980], and how they had kind of a superson-
ic streak across them. But that's energy that's
going somewhere, and these are like black
holes or drains. I'm interested in this image,
this whirlpool movement of galactic speed.
But you tell me about it.
JR: Well, it's a totally optical space Its a nev\ device
for me. really Its like an exclamation that shows
change Now. this image right here [points], there's
going to be some fluorescent spots on it dots
that stuk out in front It will look like it's m VI )
when I get through V\ ith it.
I hate to show paintings when they're no. tin
ished, because you can only spei ulate on what the
'•snap'' is going to be But you're seeing things now
,.. the) unfold When tins all goes together, you'll
w ilk in the trout dooi of the museum .ml tins
ninety-foot painting should propel itself down to
one end of the room ind to the other, ami then
..round the room.
I Ik priority for me is visual invention and, real
ly, content is secondary but then the content is what
grounds the picture. It pulls itself in place and in
time, you know -whatever it is, even if it's banal
RR: It's true. So far, what hits me so forcefully
about this new work is the difference from
your earlier work— namely, it's got all these
dynamos. You feel as though you're going to
be flung into some kind of spinning engine or
to the end of the world. There are all these
black holes. And it has a furious kind of pro-
pulsion that is very unlike the movement in
what you've done before. But that is what's so
startlingly fresh about it.
Then I'm also wondering about the images,
some of which are new and some of which are
old. You started working on this piece expect-
ing it to go to Bilbao, but in the end it's being
done for Berlin. So how much does the
German context figure in your choice of
images here?
JR: Well, the window image represents the (.M.u in
flag ,, a sunrise over the Ruin Valley I he -lull bus
represent heavy industry I he * ' ' """ advertising
cost that makes people pis four dollars a bos foi ten
, . ,,,, worth ol breakfast cereal brings to mind the
differences between I asi and West Bi rlin when the
wall was up and hou drab I asi Berlin was and hovs
vital the West ll also brings to nun, I the question ol
advertising Young Polish peoplt tell an We knov,
ibout youi Coca-( ola and M< Donald's, but you
must come and tell US what it re. .lb means" I'm ii I
loss for an answer I VC seen and painted ii .11 m\
hte I guess I rejei ted the banality and greed invoh
ed in advertising but I've teen it bun.' color into
oui lives
I wailt to go on and say that in 1 - ' " the littli
girl undei the hairdryer v\ is i metaphoi foi the pilot
and the economy that produced the obsolete I bei
\,,d ,,ow I'm using th« hairdryei igain It's a fo< ii
p,,int ,,i the end w ,11 But here, thirty years lam the
girl h.s become the widov, who runs the world
be, w heireSS on Wall Street She holds
the power and the control ol the world economy
l had i man's imagi hi r« It was just i hairdo and
his bra, ns were spaghetti thai - m earl) I ranco
\meri. in spaghetti imag< I"" I took that out
There's ilso a woman there whose face is slivered
into .1 i oiled spring.
That spring is great because it's just like
a five-and-dime-store version of all of those
whirling drains, the same spiraling image.
JR: Its like a dynamo springing out
This should be your crowning achievement
of the twentieth century. It's now three decades-
plus after your beginning. Being an art histori-
an, I'm looking sideways to works of other
artists of your generation, and wondering how
they might plug into this. You, in particular,
I know, have always been very generous about
looking at, responding positively to, the work
of your peers and your juniors and seniors.
But one of the things I've noticed in a lot of
work of your generation — I'm thinking about
artists like Johns and Rauschenberg and
Lichtenstein — is that in their work of the last
decade or so, they more and more frequently
used quotations from their own earlier work,
whether as fragments or as a whole. And this
is something that I'm aware of in this work,
too. I mean, it's a mood of summary, of
anthology, of Proustian recall. Do you think
of it as a kind of summa of everything you've
done, and do you want to look back, quote,
see your work through the layers of time?
JR: It's not really a summation. It's more like usmg
the past .is a springboard to new imagery, or .1 new
kind ot imagery. Something that people tan recog-
nize from the past.
What's so exciting is that this looks like
a springboard for a whole new language. I
mean, what would strike any viewer first is the
momen-tum here. It has this insane, young
energy. It's like an earthquake, a volcano, you
name it. It has more speed, more force than
anything I've ever seen of yours before. You
know, it's like being inside a laundromat.
JR: Exactl) That's what I want. [Laughs.] You hit it!
Well, we might say a cosmic laundromat.
I mean, you're in a spin-dry cycle from begin-
ning to end.
JR: I hat's right. And that is because of. I think, the
tumult of our economy over the last tew years Up
A\)d down, up and down, up and down, and the
whole world is going into a tumult because ot the
nuclear roles coming down COO. 1 here's a lot of
optimism, but there's pessimism, too It's been very,
\er\ vigorous.
RR: I wanted to ask you about the title of this
suite of pictures: The Swimmer in the Econo-
mist. I mean, I know you love puns in your
images, like the hairdryer equalling an air-
plane's nose cone, or fingernails equalling pen
points. But tell me about uthe Econo-mist,"
which is a verbal pun. Tell me about the title.
JR: Well, the swimmer . . . apparently, there's an old
Venetian saying, "The artist swims in the water, the
critic stands ashore." So the swimmer is the active
party And the economy is a dream. It describes
being immersed in a tumult
Hopefully, this is going in the right direction It's
always been hard to (ell You know I thought 1 was
an old socialist for a long time, because I thought
about the inequalities between people, and what you
tan d^ about all ofthat I don't consider myself a
humanitarian, but I think about waste and unhappy
billionaires [laughs] and people who are happy, and
about the da\s in the sixties when kids m the com-
munes could bu\ a truckload ofgranola at the teed
store for the rest of their lives for a hundred biitks.
and wear arm\ -surplus clothes and raise tons of kids
and have a life living on nothing. You have children.
I have children We all hope that the race continues
Another thing I was going to call this painting
was The Ract
RR: Race?
JR: The Race
RR: As in the human race? Or as in the run-
ning race?
JR: Everything All of it 1 ike Thelonious Monk
said. "All ways, always "
RR: Well, I can see the energy of it. I mean,
just the sheer miles-per-hour moving from one
end to the other is right up there with cosmic
races.
JR: It's race, it's speed It's racial, its promoting the
rate regardless of what the rate is, staying alive. I hat's
win The Race was a title A lot of times I haw ten
titles, and then it boils down to one. or none
10
RR: You know, something else I noticed about
this new work has to do with the way you've
always switched back and forth between, on
the one hand, grisaille painting that looks like
black-and-white photographs, and, on the
other hand, color that looks synthetic, a la
plastics and TV. But that kind of back-and-
forth between color and noncolor seems to be
much more intense, much more polarized here
than I've ever seen it, and that also contrib-
utes to the "race," the rush of it, moving from
memories of Guernica and its recall of black-
and-white newspaper photos, into the newer
media of these crazy, incandescent, California
candy colors. I have never seen such an excit-
ing contrast in your work. It really has a
momentum here it has never had before.
JR: Well, studying color is like playing the piano.
One needs practice I "hat color right there on the
painting [points] is onl) about three colors mixed
up in the right quantity.
But this color, even for you, is a new kind
of artificial. It's got every color in a plastic
rainbow, and just in terms of clash, it has the
kind of energy that all those spinning drains
have. You were talking about painting as illu-
sion, and I'm fascinated by the part of this
mural where an airplane disappears and re-
emerges as if . . . well, in the way I see it,
as if the canvas were being unfurled or furled
before your eyes. So that the painting is
almost being wrapped up while you see it. And
that gives it a whole kind of snap, crackle,
and pop it wouldn't have otherwise. It makes
your earlier pictures look absolutely flat. This
has an unstable, sweeping energy that rushes
through the whole panoramic spread.
JR: Well, you know, there are suhhnun.il memories
foi i lot of things Tins is an aside, but Richard
Feigen has tins beautiful Turner painting in lus din-
ing room It's called Tin Reconstruction of tlu Temple
Wa\ in the background, there's .1 temple, and then
there's this incline at the bottom of the painting, and
these people are dancing and playing the flute ind
frolicking, but they're going downhill 1 ike life is
fun and everything, but you're still going down.
It's like this slope in your painting, like
something that's sneaking along on the
ground. It's got the quality of an undertow.
And now, a totally different question. I
remember the last time 1 saw this here, it was
in a different state and I was, as usual, trying
to think of how it relates to other works of art
from the 90s or the 80s. And one of the things
that occurred to me is that the only other
place I've seen this kind of wild, almost incom-
prehensible cosmic space is in some of the
recent paintings of Frank Stella. They look
like computer explosions, but they are in fact
totally controlled and corseted like yours. Do
you have any connections with that?
JR: The cosmic explosion . . .
rr: Well, it's a kind of spatial abstraction
that's very new in the late twentieth century.
It looks like cyberspace, and it's something
that implies infinite extension and total incom-
prehensibility. It just doesn't fit into any pre-
dictable spatial patterns, and it feels as if
you're being sucked into a galaxy. Stella is
the only thing that I've seen in terms of
abstract painting that I can connect visually
with what you're doing. I don't know if this is
just an accident . . .
JR: I hke Frank's work a lot, and I've watched him
since he started At first, it was hke h< vi is putting
building blocks togethei and then ii got mon and
,,„,, more and more sophistii ited until
all of a sudden, you Can'l tell where it starts and
where it ends It's brilliant. 1 mean, I think Ins plas
ticitj is incredible It's great Bui foi me, painting
means making some reference to one's time
RR: You've been around for some decades and
we're approaching the millennium and, not to
sound too poetic about it, this mural is like a
time capsule of twentieth-century history. It's
got the epic momentum of the past, and it also
has some sense of bursting through a sound
barrier into the future. But, above all, it's got
the panoramic sweep that sums up our planet,
the cosmos, and whatever you can buy in the
five-and-dime store. It goes from heaven to
hell and from the particular to the universal.
Something like from here to eternity.
JR: \Vr\ kind But I'mjUSt m the middle ol it, and
this end walls going to be a sur]
Aripeka, I lorida
D. embei 6, 1997
11
s_
''There's an old
Venetian saying,
xThe artist swims in
the water, the critic
stands ashore/
So the swimmer is the
active party.
And the economy
is a dream.
It describes being
immersed
in a tumult. "
/ I The Swimmer in the Econo-mist
(painting 1), 1997-98
Oil on canvas
3.50 x 6.10 m, 4.02 x 6.10 m at center
Oeutsche Guggenheim Berlin
2 | The Swimmer in the Econo-mist
(painting 2), 1997
Oil on canvas
3.50 x 11.60 m
Deutsche Guggenheim Berlin
i The Swlmmet m Ui -
:. 6f >lm
.
^m
for me. It's like an excla
Swimming^^Mist
NOTHER COUNTRY
JUDITH GOLDMAN
I. From nmc to five, tor the last year, James Rosenquist has been working on .1 suite oi thi
mural paintings, The Swimmei m the Econo-mist, commissioned tor Deutsche Guggenheim
Berlin. He's been on a tight schedule, painting against a deadline that is drawing near In a
month, the pictures must be installed, and they are almost finished. Only a fevi areas uni. mi to
be painted. Roscnquist has just returned from the local art store, where he's been looking for
the colors that he needs tor his final touches, or what he likes to call "hot Inks." He plans to
add color accents — an acrid yellow, a glaring orange. These Day-Glo tones comprise a palette of
jangling, vulgar tints. They are the colors of roadside signs th.it advertise take out barbecues and
X-rated entertainment. They are crass colors that defy ^,ood taste and give The Swimmei in the
Econo-mist its essential edge and disequilibrium.
Standing 111 front of one of the paintings. Rosenquist studies it. Although lie works
from maquettes and preparatory drawings, he spends large stretches of tune looking it paintings
in progress. Usually he sits and stares. Sometimes he paces back and forth along the length >>!
the large studio. Often he studies his paintings at the end ot the day, when the natural light
grows dim, because color values subside and mistakes are easy to read. He is not aV( rsi to
change. If he thmks it is necessary, he will disregard plans and compositions and start over. In
the course of completing The Swimmer in the Econo-mist, lie has made various alterations. At one-
point, he decided the paintings were about the future, not the past, and removed images that he
regarded as too reminiscent of earlier work: a man's head, swirling hair, a field ot spaghetti.
Rosenquist has just finished painting the large orange oval that divides the twenty-
seven-and-a-half-meter panel, and while he waits for the paint t<> dry, I ask him about that
shape, which recalls a similar one in the l°7<) painting Flamingo Capsule (fig. 4) His answer is
fast and short: '"It's a reflection from a blast furnace." he savs. then, changing the subjei t,
explains the procedures used to create the image. He describes how he had t<> mask out the
entire area around it before he began to paint and why he used a Spra) gun (be. ause the
method rendered a smooth mu\ even surface) Rosenquist jealousl) guards the meaning of his
paintings, but willingly explains their elaborate procedures
Countless small decisions are crucial to Rosenquist's art At first glance, his paintings
seem to be an arbitrary melange of dissonant contrasts and yokingS. But they are not arbitrary
at all. Every aspect is carefully considered. Fairings are strange and hard to comprehend, but the
couplings are never accidental or casual. Visual narratives meander and ramble aimlessly, but
lamei Rosen': irom
in Corporatioi
1 above ihi a itoi rheatei >'' Broad
25
FXosenquist means what he says, and he is almost always savin- something. When he contrasts ,
I, ,IK , reared surface with a swirl of hand-applied paint, or juxtaposes monochromatic
grays with bright and dissonant hues, or tills a window with the colors of the German flag, or
restates Picasso's Guernica (fig 8), he is not acting arbitrarily. These are the elements and images
from which he constructs his art.
The Swimmei in the Econo-mist utilizes all the devices and visual conventions we have
come to expect from Rosenqmst: the disruptions and disconnections; the barrage of imagery;
the unlikely mergings; the contradictions; the blatant non sequiturs; the strident colors; and, of
course, the scale. The Swimmer in the Econo-mist is the largest suite of paintings he has produced
to date. Consisting of three separate pictures, m twenty-one sections, it measures three-and-a-
half meters high and more than forty-eight meters long. Designed to cover three walls inside
Deutsche Guggenheim Berlin's gallery, the paintings are mammoth and their towering images
envelop their viewers.
Rosenc|iiist is ., master of big pictures. He is well-versed in scale and a connoisseur of size. He
is also accustomed to working on assignment. When he was voting, he painted black-and-
orange emblems for Phillips 66 gasoline on signs and bams across the flatlands of his native
Midwest. He was a natural. He could draw anything to specification. He could scale up or scale
down, In 1954, he worked for General Outdoor Advertising, painting billboards around
Minneapolis. He painted immense parrots, enormous whiskey bottles, and letters that rose
three meters high. In 1955, he moved to New York, having received a scholarship to the
Art Students I eague. After a year, when his money ran out. he found a job painting signs. He
joined I OCal 230 of the Sign. Pictorial, and Display Union. He was the union's youngest mem-
ber, but he became their star artist as his skill increased and his repertoire expanded A newspa-
per reporter referred to him as a "billboard Michelangelo "
He spent two years at dizzying heights, balancing atop bridges and standing on scat-
folds above Times Square, painting movie stars' smiles, mammoth lips, toothpaste grins, a gigan-
tic dimple m Kirk Douglas's chin. He learned a lot on the boards. Painting fragments taught
him about collage. Working on a large scale afforded him lessons m abstraction, close-up vis, on.
and the effects of size. He learned about mixing paint, too: how to make it silkv and so thick
and smooth that it flowed like cream. He absorbed a syntax of commercial techmques.au
alphabet of advertising colors, like suntan brown and lipstick red. The trade secrets he learned
influenced him and eventually transformed his art. He stopped making the small, gray ab$tra< I
pictures that he painted in the evening after work. Instead, he found his subject matter in the
detritus of consumer culture and the remnants of everyday images He treated a new. idiosyn
cratic visual language.
Gaudy, strident, blunt, ordinary, and strangely mute. Rosenquist's new language was
steeped in the American vernacular. It consisted of fragments taken from printed advertise
ments — pieces of angel food cake, bottle tops, spaghetti, razor blades, tire treads, and the grilles
and windows of old cars. Although the images are naggmgK familiar, Rosenquist's pictures
stubbornly resist interpretation. Their meanings are fugitive. Like poems built with dense in. i a
phors, they are hard to parse. This was what Rosenqnist intended He wanted Ins art CO he cool
and detached. Hoping to avoid the emotional angst that weighed down Abstract Expressionist
painting, he chose objects garnered from a commercial netherland — dumb, malleable, anon)
mous images that he once described in conversation as "old enough to pass without notii e. but
not old enough to trigger nostalgia "
Rosenquist has often said that he intended to make pictures, not statements. Sounding
like a strict modernist, he has maintained that the space deputed In m image is more impOl
tant than the image itself and that he is not interested in objects, but in then abstract proper-
ties. He employed numerous devices to deflect meaning. Odd couplings defy logic non
sequiturs, like a field of orange spaghetti, disrupt narratives; realistic images, rendered < lose-up,
become abstractions. Even his colors — the pigments of printed reproductions — have an artiti. ial
aura, .\n anemic cast that creates distance.
Despite Rosenquist's emphasis on formal properties and visual invention, his paintings
never lack content. From the start, they addressed big themes, like love and war and sex and
liberty. Hey1 Let's Co foi a Ride (1961), whatever else it may concern, is about sedu< tion, as is
Waves (1962), albeit from another perspective. A Lot to Like (1962) and Silver Skies (1962; fig. 2)
are reflections on superabundance— on an overcrowded visual field, on the plethora .»» products
that inundate American consumers. And the paintings- punning titles are rife with hidden mean-
ings and opinions. A Lot to Like suggests that there is, in fact, too much to like. No matter hovi
mute the paintings seem, they are informed by conviction— even, at tunes, fanned by nnl,
tion.They convey impressions and opinions about everything from advertising and assassii
Silver Skies, 196?
Oil on canvas
1.98 x 5.04 m
The Chrysler Museum of An
Gift Of Walter P. Chry,lrr. Jr
27
Fill, 1961 65
Oil on canvas with aluminum
3.05 x 26.21 m
The Museum of Modern Art,
New York, Pm
nous to beauty, sex, and matrimony. Fraught with feeling, they are nonverbal, visual poems that
resolutely resist words
II. In the fall of 1964, an election year, Rosenquist began the large painting that became F- 1 1 1
(1964-65; fig. 3), Ins first site-specific work. A transitional picture. F- / / / marked the end of
Rosenquist's early, straightforward collage compositions and the beginning of his exploration of
peripheral vision and big pictures. As with many of his major paintings, F-llfs conception and
execution coincided with significant changes in his life. For the two preceding years,
Rosenquist had been painting nonstop. His work had been featured in the Museum of Modem
Art's . [mericam 1963 and in two major Pop art exhibitions: New Realists (at Sidney Jams gallery)
and Six Painters and the Object (at the Solomon R. Guggenheim Museum). He'd also executed a
commission for the 1964 World's Fair and completed enough pictures to fill solo shows in
Pans, Los Angeles, and New York. He'd had to work hard to sustain his level of production, for,
nnhke his Pop colleagues, Rosenquist did not employ reproductive techniques or pamt in
series. Whereas Andy Warhol screenprinted his portraits of Marilyn Monroe, modifying their
I olor and size, and Jim Dine varied his images of bathrobes and hearts by filling them with
landscapes and a rainbow of colors, Rosenquist never repeated his compositions exactly or
restated them by changing their color, size, or background. He was always starting over. Every
painting was different.
His style, however, remained consistent. He utilized the same visual inventions and kept
refining his technique and extending his vision. He moved from simple couplings to allover
i onfigurations. I le was continually finding new ways to combine and transmute provocative
fragments into arresting, mysterious compositions. He was working all the time, and by the tall
of 1^)4, he was tired and ready tor a change. He'd been experimenting with sculpture and
environinent.il pieces and had started attaching objects to his canvases, He had reached a turn-
ing point in his life .is well .is his art. He was about to lease a new studio, and he'd changed
dealers: after the Green Gallery closed, he'd joined the Leo Castelli Gallery, where his first show
w.is scheduled to open on April 17, 1965.
Regarded .is Pop art's epicenter, the small Castelli gallery presented big shows, and
Rosenquist wanted his first show there to have an impact. He intended to fill the entire gallery,
to make the biggest panning he could, and he spent a year preparing for the exhibition. He
28
needed to End a subject he felt passionate ..bout. .1 theme miport.nii enough to sustain the pi(
ture he intended to paint. Everything he saw, heard, or thought about influenced him; a trip to
Dallas just before the Kennedy assassination; .. silver fighter bomber sitting on an airfield; a pat
„„ talking at an amusement park. Kile chatter; taxes; conversations with a newspapei report. 1
who had been to Vietnam. Rosenquist painted l-lll in the middle 1 America mosl
violent decades. It was also a political tune Lyndon Johnson was running for president. The
Civil Rights Act and legislation on a sweeping program for economk and social welfare had
passed. The Vietnam War had begun to escalate Rosenquist took it all in and reflected the tui
moil of the times in /-///.the large mural painting that would ie to be regarded as the
apotheosis of Pop art.
Once he had finished making preparatory drawings tor the painting, he had stretchers
built and for the next eight months he worked on the picture. He was obsessed I )a, and mght,
all be talked or thought about was F- / / (. His studio w. mall that he had ,0 pa.nt.tm sec-
do^ ,„ fact, be did not see F- / 11m its entirety until mid-April 1965, when be installed the
irregular fragments around the walls ofCastelli Gallery's Hon, room The painting we sl.ghtly
more than twenty-six meters wide and fit perfectly
F-m surround cues, h inundates them with nois, colors tha. merge and over
lap with bright surfaces, reflective panels, and a string of unrelated images Impossible to take
in tll, painting Pul,s at the edges of vision. No matter .as looks, there ,s too much
» see. The nose and fuselage of an Mil j* cover and connect the panels , ut wha Hhe
enlarged images that interrupt the bod, of the plane; Ho, do eggs, light bulbs, a tin, st-
and an undeLter swimmer relate to a ft g beach umbrella, s. paghetc, and the grin-
ning young girl (the plane's pflot) under me phallic ha.r drye,
8 p." ,s a politic, painting, a picture about war. taxes, and e surplus , , n-
sumer culture „s subject , « machine, a fighter jet, paid for b, ttxpayers then n d vdop-
views explaining the pictures intent. Initially, tie ■
*eir taxes. But F-M1 « an e .„.,, waU , . v ^^ (
- P^aUy fe»,T0 see it, viewer ^g^^Z**** >— ^ ' "
cue point of view, but must be comprehended incremei
1 / Flamingo Capsule
Oil on canvas with two alun
,ide paneli
Central pan. I '"■
side pa 91 m each
hao Muieoa
29
/ ,,. F| Detail o( Horse Blinders, 1968-69
Oil on canvas and aluminum
3.05 x 25.76 m
Museum Ludwig, Cologne
Star Thief, 1980
Oil on canvas
5 21 x 14.02 m
Museum Ludwig, Cologne
effect is cumulative. And finally, viewers discover that this fiercely antiwar picture is as much
about vision .is it is about war.
With F- / / /. Rosenquist had found a new canvas — the Castelli Gallery's front room—
and for the next five years, he produced site-specific paintings like Area Code and Flamingo
Capsule (both 1970) that exactly fit the gallery's walls. The most ambitious painting of the peri-
od was Horse Blinders (1968-69; fig. 5), which, like F-1H, envelops viewers as it examines the
nature of peripheral vision. Rosenquist began Horse Blinders during another election year. It was
a particularly brutal year, during which Martin Luther King. Jr.. and Robert F. Kennedy were
assassinated and Andv Warhol was shot. Its subject is the visual noise of consumer culture, and
how we sec or don't see. As m /- / / /, a jumble of disparate images besieges viewers. The assault
is intense, foi in each of the picture's corners, polished aluminum panels not only carry but
relic, i images, heightening and multiplying the clamorous visual effects. The image of severed
wires suggests that communication is impossible, and the title implies that horse blinders are
needed to eliminate the incessant onslaught of random and raucous information.
L980 was another election year. Ronald Reagan became president. The Iran hostage
crisis was under way. The American economy was weak and an era of government deregulation
and supply-side economics was about to begin. Rosenquist had started to think about painting
another big picture He was looking for a new challenge, to do something he hadn't done
before. He thought it would be interesting to step outside the gallery system, to create a picture
that was too large to be exhibited m a commercial gallery or sold to a private collector, a
painting that was neither site-Specific nor commissioned.
For a good part of a year, Rosenquist worked on Stai Thief (1980; fig. 6). The largest
painting he had made up to that time. Stai Thief features a strange amalgam of visual frag-
ments—Strips of flying bacon, a starry skv; a skyscraper; a woman's head, split open to expose a
gnarled mass of colored wires The imagery is dense and recondite. The smoothly painted sur-
fa< e seems to seal meaning m. But old themes slowly become apparent. Rosenquist's ongoing
exploration of vision and space continues, space-age technology threatens nature and beauty.
Unlike F- / / /, however, the vast space of Star Thief does not surround viewers, but confronts
and engulfs them, stretching up and out. as far as the eye can see
When he finished the picture, Rosenquist invited his longtime dealer Leo Castelli to
see it. After looking at the painting, Castelli asked Rosenquist to accompany him to an address
30
on Greene Street, where he said he had something important to show him. When the) arrived
Castelli opened the door to a ground-floor space, entered, and waved h.s arm ..round the larg.
room, motioning toward a big wall.This was Castelli's new gallery, and to Rosenquist's amaze
ment StarThief fit. The height of Greene Street's ceiling was approximately five-and-a-hall
meters StarThiefis around thirty centimeters smaller. StarThief™ never mean! to be I site-
specific picture, but the gargantuan paintings that followed it, like 4 New-Cle* Women (1982)
were. For the next few years, the walls of the Greene Street gallery became EWiquist's nev.
and largest canvas.
Ill Given the years Rosenquist spent painting billboards and his abiding .uteres, in site sp« , ill
paintings, it seems odd that he turns down most commissions. He accepts only those that
est him, and in a career spanning more than four decades, they number approximate!, a d,
b, 1976 he created murals for the Florida State Capitol at Tallahassee because he lues m
Florida part-time and thinks of himself as a Floridian. And he has always a, , epted ,
from architect Philip Johnson because of the rapport he feels for the man and hts wor m
,964 he produced a mural for the pavilion Johnson designed for the Ne. -York World ft*.
and ,„ l984, he panned Flowers, Fish, ani Fe les fo, the I v„ , (fig. 1) for the restaurant
in the Sea-rams building in New York.
There are pragmatic aspects to every commission-expectattons to be met, tons
to be fulfilled. Commissions must communicate id. I emblems; they must please and
.morn, l^scnmust's Tallahassee murals feature images assorted W«h h S * . of 1 0 nda
including sheUfish, palm trees, and boy, Bowers, Fish, mi Fe ^ **£££'
Amorous stil) lift befitting of a grand and expe d 6 n I he p.ctu* « I •
brimming over with su «-^«""~^^£i"
faces sliced into splinters. Rosen A research for , usstons tends > ' ;
mentary. For the Florid als, he read the state's h^ £. ^ J^«
collected seed catalogues and studied pictures of flowers. He also I
local fish store, where he photographed dead Gsh.
,i,.c,,...enheun Museum's director, met with Rosenquist
In November 1996,Thomas Krens.the Guggenneim
1 /■/<■ .'2
Pijj 7 | Flowers, Fish, and Females
for the Four Seasons, 1984
2.30 x 7.29 m
The Metropolt
Gift of torn Ma ■»'• K°w,i
1995 199*a i
/ ig s | Pablo Picasso
Guernica, 1937
Oil on canvas 3.51 x 7.82 m
Museo Nacional Centro de Arte
Reina Sofia, Madrid
/ \g 9 | Industrial Cottage, 1977
Oil on canvas
2.03 x 4.62 m
Private collection, Courtesy of
Richard L. Feigen &. Co
/ - / / / mural, but nothing was resolved at the meeting as the location of the commission had
not /el been determined. In principle, the concept interested Roscnqinst. When Krens
mini nied him .i few months later th.it the commission was set for the new Guggenheim in the
former East Berlin. R^osenquist was pleased.
As always, Rosenquist's experiences informed his new painting. He thought about
German friends he had and German journeys he'd taken. He recalled a trip to East Berlin not
long after the wall came down. He remembered seem- remnants of red stars on a wall, smelling
disinfectant, and visiting places that looked devastated and bombed out, but he also recalled the
emerging energy he'd seen and felt. He read up on German cities, on Berlin from the 1920s to
the 1940s. He also re. id about Germany as a world power, about Prussian kings and German
statesmen from Frederick II to Otto von Bismarck, and about the World Wars.
He decided to create paintings that would reflect the new Germany and the Berlin of
tod. iv. not the divided city of the past. He thought about F- 1 1 1 too. and how his quintessential-
lv Pop picture had come to represent not just an art movement but the atmosphere ot its time
It had been more than thirty years since he painted F- / / / and the picture still looked fresh. He
wanted no less for The Swimmer in the Econo-mist.
The Swimmei in the Econo-mist tells a tale about the future. It is a familiar story, one Rosenquist
has told before, about politics and e< onomics, war and commerce — only the setting is new. It
takes place in Germany, after the fall of Communism. It is a post-Cold War story. As usual, the
narrative is askew. There is no linear structure in The Swimmer in the Econo-mist, no sequential
order to the heap of broken images Viewers are bombarded with a tumult of numbing things.
The eye swims, stops and starts, going from close-up to long shot, from griss.ulle to technicolor,
attempting to follow the action, to make sense where there is none to be made. The connec-
tions are implausible: what is the relation in the largest painting between an airplane, a black
swirl, an abstraction from Picasso's Guernica, and a whirlpool of fragmented cereal boxes covered
with words listing the cereals' nutnents:
In .i conversation about The Swimmer /// the Econo-mist, R.osenquist mentions the mark-
up on .i box of cereal, stating that a four-dollar box of cereal only costs ten cents to produce Is
he referring to the money spent on advertising? Are conclusions about his suite ot product-
packed paintings meant to be drawn? In one of the panels, enlarged letters copied from pack-
lges oflaundry bleach gyrate out of control. The Swimme, in the Econo-mist is a parable aboul
the effects of war on economic growth, rhe reference to Guernim in the large panel a > be
ignored Not only is Guernica the twentieth century's best-known antiwa. mural, but Picasso
meant the picture as a memorial to .. terrible bombing, to the destructive power of fascsm and
the devastation of war
The smallest panel provides the paintings" focus. It features a tableau ol retrospe. tive
images that have been altered and updated. A window, reminiscent of one in Indmmd ( ottage
(1077- fig 9) but filled with the colors of the German flag, represents the snnr.se and the dawn
,,„. 0f a new, unified Germany. Drill bus signify the industrial growth o( the countrys Ruhr
Vallev The lipsticks are similar to those ,n H, : of Fire (1981; fig. in,. Inn he,,- they he about,
ben/and melting, like misspent bullets. And looming large is the hair dryer from F-Hf Its fo.
mer occupant-the httle girl with the cloyingly sweet smile (see fig. ll)-.s .one. No longer
piloting the bomber, she has grown up, she is out of the picture. In he, place there K t
circular reflection, a familiar shape that retails the corporate symbol o. Datmler-Benz, ol
Germany's industrial giants
„„s„ ;,-,„„, .^isnotsomuchanupdateofF-nfasntsareflectton
&om another time and another country. As the twentieth centur, draws to « ^J-JJ
,„,,„ us another vision of how we live and ho, we see. As always, nature and , I ,
and war and economics continue then old alliance. Bu, the pace ,s faste, I ere , m
everything-more products, more images, more information, and more stufl
Fijj 10 House of Fire. 1981
Oil on canvas 1 98 x 5 0> m
The Metropolitan Mu
;.tse, George A and Arthui
| ii, .mi I unds and
Lila Acheson Wallaci Gift
,,, f j /lewol i mi U
in Rov
429 Broome Street, New York
33
4 | Study for The Swimmer in the Economist
(painting 1), 1997
Lithographic tusche and pencil on Mylar
51.1 x 667 cm
Deutsche Guggenheim Berlin
Study for The Swimmer in the Econo-mist
(painting 1), 1997
Lithographic tusche and colored chalk on Mylar
50.8 x 65.4 cm
Deutsche Guggenheim Berlin
36
6 | Collage study for The Swimmer in the Econo-mist
(painting 1), 1997
Pastel, pencil, ballpoint pen, marker, oil, and
collage on paper
43.2 x 59.1 cm
Deutsche Guggenheim Berlin
37
— ■ ^j^Tff?
01 The Swimmer in the Ecoiio-misl
(painting 2), 1997
Lithographic tusche and pencil on Mylar
51.1 x 133.0 cm
Deutsche Guggenheim Berlin
38
s I Collage study for The Swimmer in the Economist
(painting 2), 1997
Pencil and collage on paper
35.6 x 121.0 cm
Deutsche Guggenheim Berlin
39
9 | Study (or The Swimmer in the Economist
(painting 3), 19".
Lithographic tusche and pencil on Mylar
41.3 x 116.2 cm
Deutsche Guggenheim Berlin
•y*~
f*~i
40
tO I Study for The Swimmer in the Econo-mist
(painting 3), 1996-97
Lithographic tusche and colored ink on Mylar
40.6 x 70.5 cm
Deutsche Guggenheim Berlin
41
; / | Study for The Swimmer in the Econo-mist
(painting 3), 1997
Lithographic tusche on Mylar
40.0 x 116.5 cm
Deutsche Guggenheim Berlin
'— -~»S~/*t
tudy for The Swimmer in the Econo-mist
(painting 3), 1996-97
Lithographic tusche and pencil on Mylar
42.2 x 92 1 cm
Deutsche Guggenheim Berlin
42
N | Study for The Swimmer in the Econo-mist
(paintings l and 3), 1997
Pencil on paper
55.2 x 126.4 cm
Deutsche Guggenheim Berlin
43
i in- Swlmmei In the Econo mlsl
1997
Pencil, colored pen
47.0 > I
Deutsche Guggenheim Brrlm
..Mage study for The Swimmer in the Economist
(painting 3), 1996-97
Pencil, ballpoint pen, oil, and collage on paper
Two sections, 0.4 x 2.3 m overall
Deutsche Guggenheim Berlin
45
SELECT EXHIBITION HISTORY
Compiled by Janice Yang
Tim se< tion pn t\ ides listings ol iclei I solo and
two person exhibitions Featuring works b)
[ames Rosenquisl Entries include exhibition
•i.l broi hures is well as rel ited
irtii les ind res. iews b) dat< of publii ition
1962
Green Gallery, New York, James Rosenquist,
Jan. 30-Feb. 17
— S[wenson] Gjene] R. "Reviews and
Previews: New Names This Month James
Rosenquist IcwYorl no 10
1962) p 20
— T[illim] S[idney] 'New Yori
Exhibitions In th« ( ialleries Jim I
Peter S ml, James Rosenquisl In
i 16 D" 6
Mai 1962) pp 16
— Robi tts, ( oh i' itions I ten
de New York ' [ujourd'htn Pa
Jum 1962) pp 4s 19
1963
Green Gallery, New York, Rosenquist,
Apr. 15-May 11.
1964
Green Gallery, New York, James Rosenquist,
Jan. 15-Feb. 8.
— S[wen |.,G[ene] R "Reviews and
•as James Rosenquisl ' ItMi wi
. fori 62 no 10 I i b 1964 p 8
— Tfillim] . S[idney] "In the Galleries
isc nquisl " ■ Irti Magazim
, 6 Mai 1964
— Kozlofl I tcei
nquisl In International (Lugano) 8,
no I \p. 25 1964 p 62
Galerie Ileana Sonnabend, Paris, Rosenquist,
June. Exh. cat. with essays by Edward F. Fry
and Jose Pierre and excerpts of previously
published essays by Edouard Jaguer.
— Michclson \nnettc Pai a I
Internationa 25,
p .,l
Dwan Gallery, Los Angeles, James
Rosenquist, Oct. 27-Nov. 21.
— W[ilson] W[illiam] "Loi Vngi li |ame
r ... i )v, in < , aller) " irtfonim (San
Francii I no J (Da 1964) p 12
Galleria Gian Enzo Sperone, Turin, James
Rosenquist, opened Nov. 5. Exh. brochure.
1965
Leo Castelli Gallery, New York, Rosenquist,
Apr. 17-May 13.
— Preston, Stuari "Art James Rosenquisl
I h, \,u\ ii 24, 1965 i
— L[evine]., N[cil] A "Reviews and
Previews." irtnews (NewYork) 64 no.4
(summei 1965) p 14
I ippard Luq R 'New York 1 . ttei I"
International (1 ugano) 9 no 5 I |une 1965
pp 52—54
( i(oldin] \[mj I ' In thi ( "is | I
Rosenquist ' iris Magazine (New Yorl
no l" (Sepi i p 63
— Alfieri Bruno. "Diario cririco (II) Dopo
,1 , ompli sso 'I inferiorii i di New York i on
Parigi (1900 196 I il complesso di
pari De I laulle
(intanto I ondra < resi i I " Metro (Milan),
no in (< >, i 1965), pp 4- 13 In Italian and
l nglish trans Lui ia Krasnik
The Jewish Museum, New York, James
Rosenquist, F-lll, June 10-Sept. 8.
Presented at The Jewish Museum before
traveling to the European venues listed below.
—"Rosenquisl •• I lll'ai |ewish
Museum Tin Neu York rfmej.June 12,
1965 p 2*
Moderna Museet, Stockholm, James
Rosenquist, F-lll, Sept. 29-0ct. 17, 1965.
Traveled to Stedelijk Museum, Amsterdam,
Dec. 25, 1965-Feb. 6, 1966, Staatliche
Kunsthalle, Baden-Baden, Feb. 12-27, 1966;
Galleria Nazionale d'Arte Moderna, Rome,
Oct. 15-Nov. 10, 1966. Exh. brochure
(Stockholm) with previously published
interview with Rosenquist by Gene R.
Swenson. Exh. brochure (Rome) with
previously published interview with Rosenquist
by Glene). R. Swenson.
1966
Leo Castelli Gallery, New York, James
Rosenquist, Apr. 30-May 25.
— W[aldman].. D[iane] "Reviews ind
Pro ji isenquisi ' I rim ws
, . 65 no i iummei 1966), p I
I ippard I u< \ R "New fori I ■ ttei " 4"
International (1 ugano) 10 no 8 (Oct 20,
1968
Leo Castelli Gallery, New York,
Glueck, Grace "Art Notes Not ( >nc
Boring Pi< ture." Tin MewYork Unit ■
I,,, >8 1968 se< I I p 33.
National Gallery of Canada, Ottawa,
James Rosenquist, Jan 24-Feb 25. Exh. cat.
in French and English with introduction by
Brydon Smith, statement by Rosenquist, and
excerpt of previously published essay by Ivan
Karp.
— Bergin.Jenn) "1 ad) Lets Hei Hair
l town " /'« ' )ttam Citizen |an 24 1968,
p 2',
— Kritzwiser, Ka) "Ottawa Shows Pop
nquisl ' Tin ( llobt and Mail (Toronto),
Jan 24, 1968, p 14
— Robillard.Yves "Rosenquist 'Je peins
des choses inonymes 'La Pn • (Montreal),
Jan 27 196*
— Heywood, Irene "A Trip to Ottawa
(ames Rosenquisl and His Power." Fin
Cazetti | roronto),Feb 24 1968 p 44
— Ad. mis. >ii Jerem) 'Exhibition Reviews
(ames Rosenquisl National Galler) "i
( anada " irlscanada roronto) 25, no I .
nos I 16 I I" (Api I968).p 45
— Vigeant, Andre "James Rosenquisl
Temps-espace mouvement." I" des arts
(Moiiirc.il). no 51 (summei I9i
pp ss 61
Butler, (oseph I I hi rVmerii an w i)
with \n (ames Rosenquisl Retrospective
I In i onnoi n mi (1 ondon) 169 no I
(Sept 1968), p.67 -Adamson, Jerem)
"Spaghetti and Roses A 1 >o< ument ol an
Exhibition . \rtscanada roronto 26, no I,
issue nos 128 12" (Feb 1969) pp 8-13.
Galerie Ileana Sonnabend, Paris, Rosenquist,
Apr. 25-May. Exh. cat. with essay by
Tommaso Trmi, trans. Adeline Arnaud.
Galleria Gian Enzo Sperone, Turin, James
Rosenquist, Nov. 5-25.
1969
Leo Castelli Gallery, New York, Rosenquist:
Horse Blinders, Mar. 29-Apr. 19
— ( anaday.John "Richard Anusrkiewica
It's Baffling " flu Mew York Him r, \pi 5
1969, p 2 I
— "Art in New York: James Rosenquist."
Urn (New York, 93. no 16 iApi 18,
1969), se( I ,p 8
B[aker] I [hzabeth] ( "Reviews and
Pi v iews " Irtnews (New York) 68, no J
(Ma) I969),pp "l _2
— Allowa) Lawrence "Art." Tin Nation
(New York) 208, no is (Ma) 5, 1969
pp SM 82
— Schjeldahl, Pctei "New York Lcttei
in International (Lugano) I I no 6
(summei 1969), p 65
, man, I mil) "New York (ami ••
Rosenquist." 1 rtforum (NewYork) 7, no 10
(summi i 1969), p 65
1970
Castelli Graphics, New York, Rosenquist:
Recent Lithographs
Leo Castelli Gallery, New York, James
Rosenquist, May 16-June 6.
— Schjeldahl, Peter A trip' with
nquisl " Tin MewYork rimes. Ma) Jl
[970 sei 2. p. 17
—I [inville] . K[asha] "In the Galleries:
Rosenquisl H ( astelli " lrts Magazine
(New York) 44. no 8 (summer 1970), p. 61
— I'erre.iuh. John "Art: Hen ind ["here."
//„ Village Voia (New York) 15 no 13
June 4 [970 pp 17-18
— Pincus-Witten, Robert New York
|ames Rosenquist, ( astelli Galler) "
irtfonim (New York) 9 no I (Sepi 1970),
PP ''■ Ti
— Rhncliff] ( [arter] "Reviews and
Previews James Rosenquist Irlmnus
(New York) 69 no 5 (Sepi 1970), p is
— Baker, Kenneth "New York James
Rosenquist < astelli I taller) irtfonim
(NewYork) 9, no 5 (Jan 1971), p -:>
Leo Castelli Gallery, New York, James
Rosenquist: Two Large Paintings: Area Code
and Flamingo Capsule, Oct. 24-Nov 14
— B[aker] I (lizabeth] < "Reviews and
Pi, views I rim w> (New York I 69, no 8
Dei I970).p 61
Galerie Rolf Ricke, Cologne, James
Rosenquist, Nov. 17-Dec. 15.
— Pfeiffer, Giintcr "Ausstellungen James
Rosenquist, (o Baer." /><'* Kunstwerk
(Sum-. mi 2l.no I (Jan I971),pp 79 -80
1972
Kunsthalle Koln, James Rosenquist:
Gemalde — Raume — Graphik, Jan 29
Mar. 12. Organized by the Wallraf-Richartz-
Museums, Cologne. Exh. cat. with text by
Evelyn Weiss and excerpts from previously
published articles and interviews.
— Weiss I trelyn Zui \usstcllung [ames
Rosenquist in dei Kunsthalle." \tu ■■ n
in Kdln Bulletin I I. no I (Feb 1972),
pp 1018-19
Whitney Museum of American Art, New York,
James Rosenquist, Apr. 12-May 29 Traveled
to Museum of Contemporary Art, Chicago,
June 30-Sept. 3. Exh. cat. with essay by
Marcia Tucker.
s, hjeldahl Pi t< i I h< Rosenquist
Synthesis I" in \mttka N< w York I 60
no 2 (Mai \pr l1'-:' pp 36 61
( mull., h .In. I h. Big l lit |acel
Retrospci rive 1 In New York Finn ■
Apr 23 1972 |- 21 Sec also James
Rosenquist \rl Mailbag [ames
Rosenquist Replies." Tin New York Times
Ma) 1-4. 1972, pp 23 24
— Battcock Gregorj James Rosenquist."
In Magazim (New York) 46, no (Ma)
1972 pp 49- 52 Revised stightl) and
published in Battcock H hy I" Casual
\,.i, on tii, [esthetics oj r/n hnmediati Past,
pp 57-65 New York I R Dutton, 1977
See also Marcia Packer's lett< t to tin editor
in response to B itti oi k irrii I, Irfj
Magazine (New York) 46, no 8 (summer
1972 p i
S[iegel] |[eanne] Reviews and
Pro iews [ames Rosenquist ' irtnewi
(New York) 71, no 4 (summer 1972 p 58
Margo Leavin Gallery, Los Angeles, James
Rosenquist. Lithographs, May 9-31.
1973
Leo Castelli Gallery, New York, James
Rosenquist, May 26-June 16.
— Frank, Peter Revii ws and Previews
[ames Rosenquist ittnen Nev, York) "2
no 7 (Sept I973),pp B4 85
Amerika Haus Berlin, James Rosenquist,
Sept. 20-0ct. 27. Exh. cat. with essay by
Karl Ruhrberg.
Portland Center for the Visual Arts, Oreg.,
James Rosenquist, Oct.
— Kelly, David "Unusual Images Jar
Viewers at [ames Rosenquist show
///, Sunday < )regonian (Portl ind) Oct 28
[97 I p 16
Stedehjk Museum, Amsterdam, James
Rosenquist, Oct. 5-Dec. 2. Traveled as Recent
Prints by James Rosenquist to Albright-Knox
Art Gallery, Buffalo, June 12-July 1. Exh.
cat. in Dutch and English with essay by Wim
A L Beeren.
Jack Glenn Gallery, Corona del Mar, Calif,
Rosenquist, opened Oct. 27.
1974
Max Protetch Gallery, Washington, D.C.,
Rosenquist, opened Jan. 18.
Castelli Graphics, New York, Feb. 2-16.
I »reiss [osepli \"- R< * iews Museum
and Galler) Reviews [ames Rosenquist."
Im, Magazim (New York) 48, no 7 (Api
197 i p '.4
Scottish Arts Council Gallery, Edinburgh,
Rosenquist Prints, Feb. 9-Mar. 10. Traveled
to Art Gallery and Museum, Aberdeen,
Mar. 16-Apr. 7, City Museum and Art
Gallery, Dundee, Apr. 13-May 12. Exh. cat.
with previously published essay by W.A L
Beeren
Jared Sable Gallery, Toronto, James
Rosenquist, Mar 30-Apr. 13, 1974.
— Nasgaard, Roald "Arts Reviews [ami ■
Rosenquist at Jared Sable.' Irti Magazim
„, York 18 no 9 |unt 1974 ,p 71
Norrkopings Museum, Sweden, James
Rosenquists Litografier, summer. Exh. cat
Mayor Gallery, London, James Rosenquist
An Exhibition of Paintings 1961-1973,
Dec. 3, 1974 Jan. 18, 1975. Exh. cat. with
introduction by David Sylvester and previously
published statements by Rosenquist
Burr, [ames 'Round the Galleries Pop
,,i ,|u Billboard." Ipollo (London) 100
no 154 (De. i"-' p 518
—Burn, (.us 'James Rosenqubi
Review (1 ondon) 26, nos 25 26 (Dei I I
p 74
1975
Jared Sable Gallery, Toronto.
I i.iuli Gar) Mil h l< I 'Reviews Loronto
I imes Rosenquist ' irtstanada I [brent
no 4 nos 202 03 (wintei 1975 76) p ^2
The New Gallery, Cleveland, Ohio, James
Rosenquist: Recent Work, Jan. 11-Feb. 8.
Knoedler Contemporary Prints, New York,
James Rosenquist: Recent Mural Prints,
Apr. 23-June 6.
— Ellenzwcig, VUen "Arts Reviews [ames
Rosenquist In Via \a imi (Nev. Yorl
no i (Sept 1975) p 4
Leo Castelli Gallery, New York, James
Rosenquist, Sept. 27-Oct. 18.
Patton Phil. "Reviews [ami i
Rosenquist Leo < ist< Hi « I ill* r) Uptown
Arlfomm New York) I t no I I i
pp 69 70
Leo Castelli Graphics, New York, Nov. 12-30.
— Drciss. Joseph "Arts Reviews [ami
Rosenquist In \4aga ^lev, York) 19,
no 5 [an 1975 p 14
Margo Leavin Gallery, Los Angeles, James
Rosenquist: Paintings, Dec. 12, 1975-
Jan. 24, 1976.
I ev, illcn, < onstancc 'Rosenqui -
Worli \rtweeh I »al Ian I I '•
[976),pp I 16
1976
Greenberg Gallery, Saint Louis, James
Rosenquist, May 15 -June 30.
Mn, ffler, Philip V."Gi Caller)
Shows Pop Works." St ' ""■/'-
June ' I97i B.p.6
Mayor Gallery, London, James Rosenquist
New Paintings, Sept 29-Nov. 5.
— Vaizey, M irina Rosi nquist \rts Review
no 2i Oct 15,1
PP 5 I
1977
Sable-Castelh Gallery. Toronto, James
Rosenquist, Apr. 9-23.
Anete Grafica, Milan, Rosenquist, opened
May 26.
Leo Castelli Gallery, New York, James
Rosenquist, Sept. 24 Oct 15.
Russell, |ohn V Work: b) I imi ■
Rosenquist " 77ii Oct
p 2 '
1 1. nr) Gerrit "-■ v York Res it ws
I imct Rosi nquist ' [rtnem (New Yorl
no in Dei 19 p I [0
-Rubinfii n.Lco Res ii ws |amcs
Rosenquist, I • • > ( astelli < Jailer) \rtforum
New York 16 no I (Dc« 19
PP '■
Zimmei W illi im \" H
Rosenquist I
p 'i
Getler/Pall, New York, James Rosenquist:
New Prints, Sept. 27-Oct. 20.
Pomtret M irgar I \rts Reviews fame!
Rosenquist In Waga im N
„o 5 |an 19 8 p 14
Jacksonville Art Museum, Fiji , Jim and Bob:
The Florida Connection, Oct. 20-Nov. 20.
Exh. cat.
1978
Mayor Gallery, London, Recent Paintings,
Nov. 29, 1978-Jan. 1979.
. | hi i ondon Res iews I
1
nd 10 no !4 D
p 682
Multiples, New York, James Rosenquist
Hand-Colored Etchings, 1978, Nov. 18
Dec. 30
1979
The John and Mable Ringling Museum
of Art, Sarasota, James Rosenquist Graphics
Retrospective, Feb. 1-Mar. 25. Traveled
to Fort Lauderdale Museum ot
May 8-June 24. Exh. cat. with introduction
by Elayne H. Varian.
Albright-Knox Art Gallery, Buffalo, Recent
Prints by James Rosenquist, June 12 July 1.
Plains Art Museum, Moorhead, Minn., James
Rosenquist: Seven Paintings, Oct. 7 Nov. 25.
1980
Castelh-Feigen-Corcoran Gallery, New York,
Rosenquist, May 17-June 14.
47
— Russell.John " \rl Rosi nquisl
//„ \,u \.-d Umes, May 30, I980.se< (
p. 14
— Ffrcnch-1 razicr, Nina \ New York
Letter [aines Rosenquist." Art International
(Lugano) 24.nos I 2 (Sept Oci 1980).
pp 82 84
-i rank, Eli: : « "'
Exhibition] I Ro nquisi at l astelli-
Feigen-i New
Vbrl No\ 1980) p 137
Texas Gallery, Houston, Paintings,
Sept. 27-0ct. 25.
1981
Leo Castelli Gallery, New York, James
Rosenquist, Jan. 24-Feb 21.
— Ashbery [ohn \rt Spai ed-Oul
Rosenquist " iSTi wsweek (New Yorli I 97,
i i p *4
— Nadelman, ( ynthia Ni « York
Reviews James Rosenquist " Irtneu
(New Yorl Ma) 1981) p 189
Castelli-Goodman-Solomon Gallery, East
Hampton, NY, James Rosenquist: Selected
Prints, Aug. 8-22.
Dolly Fiterman Art Gallery, Minneapolis,
High Technology and Mysticism: A Meeting
Point, Oct. 30-Nov. 30.
— Addington, I ran "Rosenqui l
New Directions." Minneapolis Tribune,
Nov 15, 1981, sec. G,p 14
1982
Castelh-Feigen-Corcoran Gallery, New York,
James Rosenquist: House of Fire, Mar. 3-
Apr. 17.
—Larson, Kay "The Fire Within.' Neu York
15 no
— Russell |ohn "Art A Good Way to I ook
at Frcni h « >ld Masters.' Tlu NewYork
runes, Mar 26, 19 , 24
Barbara Gillman Gallery, Miami, High
Technology and Mysticism: A Meeting Point,
June.
—Kohen. Helen L "Rosenqui
i, Miami Herald |un
I p 2
Mayor Gallery, London, James Rosenquist:
Paintings from the Sixties, June 1-July 3.
Exh. cat. with essay by Richard Shone and
previously published statements by
Rosenquist.
—Hooker. Denise "London Reviews
I unes Rosenquist Mayor ( iallerj i"
Review (] ondon) 34 no 13 (June 18,
L982). p 322.
Gloria Luria Gallery, Bay Harbor Islands,
Fla., James Rosenquist: Major New Works,
opened June 9.
— Kohen. Helen I "RosenquistWiew ol
Reality I'h. Miami FfcroH.June 20, 1982
sec I . p -
Metropolitan Museum and Art Center, Coral
Gables, F-lll and Flamingo Capsule, closed
July 4.
—Kohen, Helen I "Rosenquist s View ol
K, ,ht\ " Tin Miami Herald June 20, 1982
iei I . p 2
Colorado State University, Fort Collins,
James Rosenquist at Colorado State
University, Sept. l-0ct. 31. Exh. cat. with
essay by Ron G. Williams.
I lurni in, Irene Rosenquist Multiple
m Mammoth
Scale " Rocky Mountain News (1 >enver),
Sepi Vi ekend sec . pp 10, 16
Castelh-Feigen-Corcoran Gallery, New York,
James Rosenquist, opened Nov. 9
1983
Center for the Fine Arts, Miami, James
Rosenquist, Apr. 22-June 5.
rasker.Frcdi I lying Bacoi
Polii j Sizzling \gain." flic Miami Herald,
C,p. 1
—Harper, Paula "A Spai I ml i St u
Iliui "■" 17k Miami Vow, Apr 22. 1983
see Dp 5
— Tiehs, I aurel "Stai linn Wis the
Star, but Fans Stole the Show." The Miami
Herald, \pr 27 1983, ice B.p 2
— Gluei k ( ■> i ^" ■•"'■ I I ""
NewYorl Times, [uly 21 1983 sec C,p L5
Van Straaten Gallery, Chicago, James
Rosenquist: Paintings and Works on Paper,
May.
Thorden Wetterling Galleries, Goteborg,
James Rosenquist, Sept. 17-0ct. 16.
Leo Castelli Gallery, New York, James
Rosenquist, Oct. 1-22.
— R..\ \ ivien Vrt American Imager)
by James Rosenquist," Hn NewYork Times
Oct it 1983 ie< ( p y>
smith. Roberta "Photos and Realism."
The l illagt l Wo (New York) 28, no 44
. n l. 1983). p 95
Moul ii" ge Nicol is \ "James
Rosenquist i"' (New York) 58,
no i (De< 1983). p 1
— Moufarrege, Nicolas A I lash Art
Reviews |.mies Rosenquist Leo ( astelli.'
/ lash 4" International (Milan), no 115 I |an
1984 p 36
1984
SVC Fine Arts Gallery, University of
South Florida, Tampa, Rosenquist, May 18-
June 30.
—Loft. Kim "It Takes Work to < n it<
1 1„ Smell of i Robot The Tampa
Tribum May 20, 1984, sec G, pp I -
Thorden Wetterling Galleries, Stockholm,
James Rosenquist: New Paintings, fall.
Exh. cat.
Smith College Museum of Art, Northampton,
Mass., James Rosenquist and Maurice
Sanchez: Artist and Printer, A Decade of
Collaboration, Nov. 8, 1984-Jan. 20, 1985.
1985
Leo Castelli Gallery, New York, James
Rosenquist: The Persistence of Electrical
Nymphs in Space, Apr. 27-June 18.
— Glueck, Grace "Art: James Rosenquist."
Tin NewYork rimes, May I 1985, tei ( .
P 23
The Denver Art Museum, James Rosenquist
Paintings 1961-1985, May 15-July 14.
Traveled to Contemporary Arts Museum,
Houston, Aug. 24-0ct. 20; Des Moines Art
Center, Nov. 29, 1985-Jan. 26, 1986;
Albright-Knox Art Gallery, Buffalo, Mar 14
May 4, 1986, Whitney Museum of American
Art, New York, June 26-Sept. 21, 1986;
National Museum of American Art,
Smithsonian Institution, Washington, D.C.,
Oct. 24, 1986-Jan. 11, 1987. Cat., James
Rosenquist (NewYork: Viking Penguin, 1985),
by Judith Goldman.
— Clurman, Irene. "Old, New I oom I irg
in Rosenquist's Work.' Rocky Mountain
\,„, (1 li rtvi i May 15, 1985 p 52
— Price, Max "Rosenquist Pop Work Will
Be Very Big in M ty 1 1" Denvei Post,
•\Pr 21, 1985. p 19
( hum. m, Irene "Retrospi ctive R
Mountain News (Denver), May 12. 1985,
l pp -1 5
Price, Max "Monument J Images Tin
Denvei Post, May 12, 1985, sec D,pp 1,20
_Pri( i Max \ Really Big Show " I7ii
Denvei Post May 15, 1985 sec D, pp I '•
— Price, Max "Visiting Painter I ikes
the sue ol I lis Show." The Denvei Post
May 15, 1985, s< i D, pp I, 3
K iti lit t < arter "Rosenquist s Rouge.'
Irtforum (NewYork) 23.no 10 (summer
1985), pp 92-94
[ohmon, Pi i l "Rosenquist s
Billboard-Size Works Are Beautifully
Rewarding." Houston Chronicle, hug 31,
[985, sei 4 p I
— Fudge.Jane "From Pop's Place to
i inter Space 1 Ik |ames Rosenquist
Retrosp ti> Irtspaa (Albuquerqu
I fall 1985), pp 20 23
— Everingham, < arol ] "I :s Rosenquist
Paints the Signs ol the I imes " The Houston
September 2s. 1985 se< G.pp 1,3.
— Heartney I leanoi Rosenquist
Revisited." Irtnews (NewYork) 85 no.6
,, iimiii,! 1986) pp 98 103
Russell, [ohn fVrt James Rosenquist
in Retrospective." Tlie NewYork Tinu .
|n»e 27. 1986. sec C,p.28
— Wallach.Amei "New Flights ol Fancy."
Newsday (New York),June 29, 1986, part 2,
pp l -5, I 3
Sozanski, Edward J "A Superstar
Pop Artist rwenty-five Years I
Hi, Philadelphia Inquirei July I J, 1986,
sec M.p 12
— Larson.Kay I ire and Ice ' NewYork 19
no 28 (July 21, 1986) pp 58 59
— Pincus, Robert l "Poet of Pop \rt I inds
Bigger Is still Better." Tlie San Diego ' nion,
[uly 27, I986,se< I ,pp I. 4
—Hughes. Robert "Art Memories S< iled
md Scrambled." rime (New York) 128,
no 6 Vug li 1986) p 69
— Tout igny, Maurii e 'B oscnquist
l { pi intn a ses raisons " '-< Devoii
\\, „,.,. ,l Sept 6 1986 ' ■
I evin, Kim "Below Zero.' Tht I illagt I bio
(New York) 31, no J6 (Sept 9, 1986), p 76
—Wilson, William. "James Rosenquist Put
On oi I Sreat \merican Artist?" Daytona
Beach Sunday News-Journal, Sept 21, 1986,
sec H p I"
— Kuspit Donald "New York |
Rosenquist: Whitney Museum of American
Art " \rtfoTum (New Y.>rki 25, no 2 i
1986) pp 128-29
— Tillyard, Virginia •'Exhibition Reviews
NewYorl Whitney Museum Rosenquist
Retrospective." The Burlington Magazine
I ondon) 128.no 1003 (Oct 1986),
71-72.
—Richard, Paul "James Rosenquist's
Dreamy I andmarks in I ime flu
Washington Post, Ocl 1 V 1986, se< <
pp. 1-2
—Allen, Jane Addams "'Pop Prince
Rosenquist Looks Ahead." 111. Washington
nm«,Oci 24. I986.sec B.pp I 9
— Schwabsky, Barry "James Rosenquist at
the Whitney Museum." Artscribe
International (London).no 60 (Non Dec
[986), pp 77-78.
— Narrett, Eugene "Rosenquist in
Retrospect Wrestling with the American
i loddess.' New \" Examinei (( hi< igo) 14,
no 4 (Dec 1986). pp 23 25
—Jones, Roland. "Reviews: Nev, York
James Rosenquist Paintings 1961- 1985,
Whitney Museum." Flash irt International
(Milan).no 131 (De< 1986 [an 1987),
p 88
( otter, Holland "Advertisements for a
M, m \_ topia I" in Imerica (New York)
75, no I (Jan 1987). pp 82 89
— Camnitzer, I uis 'James Rosenquist en el
Museo\* hitney ' I"' en Colombia
(Bogota),no 33 (May 1987) pp 4 19
Catherine G. Murphy Gallery, Saint Paul,
James Rosenquist Prints, Sept. 4-27.
1986
Heland Thorden Wetterling Galleries,
Stockholm, James Rosenquist Prints: Ladies
of the Opera Terrace, Oct.
1987
Heland Thorden Wetterling Galleries,
Stockholm, James Rosenquist: One Painting
and One Print, Jan. 22-28.
Galerie Daniel Templon, Paris, James
Rosenquist, Apr. 29-May 30.
Heland Thorden Wetterling Galleries,
Stockholm, James Rosenquist: Paintings
1987, Dec. 3, 1987-Jan. 17, 1988. Exh. cat
with statement by Rosenquist.
1988
Florida State University Gallery and Museum,
Tallahassee, James Rosenquist, Mar. 11-
Apr. 17. Traveled to the University Gallery at
Memphis State, Memphis, Apr. 29-June 12;
Polk Museum of Art, Lakeland, Fla.,
Sept. 16-Nov. 25. Exh. cat. with essay by
Craig Adcock.
Leo Castelli Gallery, New York, James
Rosenquist: Through the Eye of the Needle to
the Anvil, Apr. 23-May 14.
Richard L. Feigen & Company, Chicago,
James Rosenquist: New Work, May 5-
June 24
USF Art Museum, College of Fine Arts,
University of South Florida, Tampa, James
Rosenquist at USF, Oct. 10-Dec. 3. Exh. cat.
with essay by Donald J. Saff.
1989
Richard L. Feigen & Company, Chicago,
James Rosenquist: Flashl.fe, opened May 12.
Richard L Feigen & Company, London,
James Rosenquist: New Paintings,
June 27-July 28.
— Y[ood] ,J[ames] Reviews I
Rosenquist: Feigen & Company \rtforum
(New York) 28, no 2 (Oct 19*
pp i s,. 81
Heland Wetterling Gallery, Stockholm,
Welcome to the Water Planet, Nov
1989-Jan 1990. Exh. cat. with essay by
Judith Goldman.
1990
Universal Limited Art Editions, New York,
James Rosenquist— Never Mind: From
Thoughts to Drawing, Jan. 17-Feb. 17. Exh.
cat. with essay by John Yau.
— Wallach.Amei I Kplorations in Space
Vewsday (New York). Feb B. 1990. part 2,
pp. 8-9
The Museum of Modern Art, New York,
James Rosenquist: Welcome To The Water
Planet, Feb. 7-May 1 Traveled to Laguna
Gloria Art Museum, Austin, Tex., Sept
8-0ct. 21, 1990; University of Missouri,
Kansas City, Jan. 20-Mar. 22, 1991; The Art
Museum, University of California, Santa
Barbara, June 25-Aug. 11, 1991, Center for
the Arts, Vero Beach, Fla., Dec. 1-Jan. 19,
1992; University of Kentucky Art Museum,
Lexington, Mar. 22-May 10, 1992. Exh. cat.
(Mount Kisco, New York: Tyler Graphics,
1989), James Rosenquist: Welcome to the
Water Planet and House of Fire, 1988-1989.
Essay by Judith Goldman. Published in
conjunction with this exhibition and the
traveling European exhibition originating in
1989 at Heland Wetterling Gallery,
Stockholm, and organized by Tyler Graphics.
— Wallai l' -\'"" Explorations in S|
Newsda] (New York),Feb 8 I990.part 2.
IT i
—"James Ros< nquist it 1 1" Museum ol
Modem Art." I" Vow Caller] i
, i, Plains. NJ.) 20. no. 7 (Mai 191
p 'ii,
Erika Meyerovich Gallery, San Francisco,
James Rosenquist, Welcome to the Water
Planet and House of Fire, 1988-1989,
Apr. 6-May 12.
Glenn-Dash Gallery, Los Angeles, James
Rosenquist, Welcome to the Water Planet and
House of Fire, 1988-1989, Apr. 7-May 5.
Richard L. Feigen & Company, Chicago,
James Rosenquist, Welcome to the Water
Planet and House of Fire, 1988-1989,
May 5-June 2.
Leo Castelli Gallery, New York, James
Rosenquist, Oct. 20-Nov. 17.
— Bass.Ruth "Reviews James Roi [uisi
Leo< astelli \rtneun (New York) 90 qo I
[an 1991). p 143
, | Rourk- Mi ■ [ames Rosenquist
i,,, Uagazim (Nev, York) 65.no 5 (Jan
[991 p 83
Decter, [oshua "Reviews James
Rosenquist Leo < astelU.' F/<u/i I"
International (Milan) 24.no 156 (Jan -
Feb I991).p i1"'
1991
Tretyakov Museum, Central Hall of Artists,
Moscow, Rosenquist: Moscow 1961-1991,
Feb. 5-Mar. 5. Exh. cat. in Russian and
English with essay by Donald J. Saff and
previously published essay by Craig Adcock
IVAM Centre Julio Gonzalez, Valencia,
James Rosenquist, May 17-Aug. 18. Exh.
cat. in Spanish and English with essay by
Craig Adcock, previously published statements
by Rosenquist, interview with Rosenquist by
David Shapiro, and previously published
interviews with Rosenquist by Doon Arbus,
Richard Bernstein, Jeanne Siegel, Gene
Swenson, Mary Anne Stamszewski. Trans.
Javier Garcia Raffi and Harry Smith
I ffett. William "Publication! P
[wi mi th 1 1 ntury \meru in \" lames
Rosenquist." Buriington M Ion)
[34.no I"" ' |uly 1992 p 159
1992
Gagosian Gallery, New York, James
Rosenquist: The Early Pictures 1961 -1964,
May 2-July 11. Exh. cat. (New York:
Gagosian Gallery in association with Rizzoh,
1992) by Judith Goldman, with essay by
Goldman and interview with Rosenquist by
Goldman.
— Kimmelman, Mil had I rom
Rosenquist, a Pli ising Look it I irlj P
wYork fltnei I
P 33
I u Kay "Unloading the * inon
pp 62 63
■ I lassi. Pop.' "«
Village Voice (New York '"" ''
p 96
—Bart ray I I David Smith \ \
Rosenquist." Coya (Madrid s 229 10
i [uly I »cl 1992). pp 104 05
Guti an l I |ami Rosenquist
Uelia (Tokyo).no 78 Sept
pp jo >9 In I nglish ind |apai
K[uspic].. D(onald] B
Rosenquist Gago ian Gallery." \rtfoi
(NewYorl ■ "l4
Galeria Weber, Alexander y Cobo, Madrid,
James Rosenquist: Paintings 1990-1992,
May 14-July 25. Exh. cat in Spanish and
English with statement by Rosenquist.
49
Galerie Thaddaeus Ropac, Paris, James
Rosenquist: Recent Paintings, Oct. 17-
Nov. 21. Exh. cat., The Serenade for the Doll
after Claude Debussy or Gift Wrapped Dolls
and Masquerade of the Military Industrial
Complex Looking Down on the Insect World,
in French and English with essay by Ann
Hindry and statements by Rosenquist, trans.
Nathalie Brunet, Neal Copper, Helene Gille.
1993
Walker Art Center, Minneapolis, James
Rosenquist: Time Dust, The Complete
Graphics, 1962-1992, Mar. 7-May 9.
Traveled to Honolulu Academy of Arts,
June 16-Aug. 8; Sarah Campbell Blaffer
Gallery, University of Houston, Sept. 10-0ct.
31, Samuel P. Harn Museum of Art,
University of Florida, Gainesville, Dec. 5,
1993-Feb. 6, 1994; Montgomery Museum of
Fine Arts, Mar. 8-June 13, 1994; Huntsville
Museum of Art, Ala., Oct. 23, 1994-Jan. 8,
1995; Elvehjem Museum of Art, Madison,
Wise, Mar. 4-Apr. 30, 1995; Joslyn Art
Museum, Omaha, June 17-Sept. 10, 1995,
Neuberger Museum of Art, State University
of Mew York at Purchase, Oct. 22, 1995-
Jan. 7, 1996; San Diego Museum of Art, San
Diego, Mar. 2-May 5, 1996; Davenport
Museum of Art, Iowa, Mar. 1-Apr. 27, 1997.
Organized by The University Art Museum,
California State University, Long Beach. Exh.
cat, catalogue raisonne of Rosenquist's prints
(New York: Rizzoli in association with the
University Art Museum, California State
University, Long Beach, 1993), Time Dust,
James Rosenquist: Complete Graphics,
1962-1992, by Constance W. Glenn.
— Abbe, Mar) and Steven Henrj Mjdoff.
Prii \rtnewi
(New York) 9
p 125
Leo Castelli Gallery, New York, James
Rosenquist: The Serenade for the Doll after
Claude Debussy or Gift Wrapped Dolls and
Masquerade of the Military Industrial
Complex Looking Down on the Insect World,
Mar. 20-Apr. 17. Exh. cat. with statements
by Rosenquist and interview with Rosenquist
by David Whitney.
— Russell.John "A Painter I inds I hat
I lolls ( in Bi Dynamitt ' Thi \nrVork
nma.Apr 11 1993. p JO
— Heartney, I leanor "Reviews Malevolent
D,,ll-. Ii « York) 92, no 6
p 167
—Adams. Brooks 'Review .'t Exhibitions
|ames Rosenquist at Castelli." -1" "'
\merica (New York) 82 no I Jan I9(
P 109
Alyce de Roulet Williamson Gallery,
Art Center College of Design, Pasadena,
James Rosenquist: Recent Paintings,
Mar. 27-May 29.
Galerie Thaddaeus Ropac, Salzburg,
James Rosenquist. Recent Paintings,
Apr. 3-May 22. Exh. cat.
Akira Ikeda Gallery, Japan, James
Rosenquist: The Serenade for the Doll after
Claude Debussy or Gift Wrapped Dolls,
Sept. 3-30. Exh. cat. in English.
Feigen, Chicago, James Rosenquist: Gift
Wrapped Dolls or Serenade for the Doll after
Claude Debussy, Sept. 10-0ct. 9. Exh. cat.
with poem by Jessica Hagedorn and
previously published essay by John Russell.
1994
Richard L. Feigen & Company, London,
James Rosenquist: Gift Wrapped Dolls,
May 25-June 24.
Leo Castelli Gallery, New York, James
Rosenquist: The Thirtieth Anniversary
Exhibition, Oct. 15-Nov. 12. Exh. cat.
— Aukcnun. Anastasia "Reviews [amej
Rosenquist I eo ( astelli Irtnews
(New York i 94 no 2 Feb 1995). p 122
— Kahna, Richard "Review of Exhibitions
fames Rosenquisi at Leo ( istelli I" '"
Inuriu Mev, Yorl Mai 1995
p. 100
Wetterling Teo Gallery, Singapore, James
Rosenquist— Paintings, Oct. 31-Dec. 4.
Wetterling Teo Gallery, Singapore, Flower
Paintings, Nov. 1994-Feb. 1995. Exh. cat.
Portland Art Museum, Oreg., James
Rosenquist: Recent Work, Dec. 9, 1994-
Apr. 2, 1995.
1995
Pyo Gallery, Seoul, James Rosenquist:
The Big Paintings, Mar. 7-30. Exh. cat. in
Korean and English with previously published
essays by Kay Larson, Meg 0'Rourke, Carter
Ratcliff, and Roberta Smith.
Seattle Art Museum, James Rosenquist
Paintings, May 15-Aug. 6.
Civico Museo Revoltella, Galleria d'Arte
Moderna, Trieste, James Rosenquist: Gli anni
novanta, June 11-Sept. 15. Exh. cat. in
Italian and English with introductions by
Roberto Damiani and Maria Masau Dan and
essay by Craig Adcock.
1996
Indigo Galleries, Boca Raton, James
Rosenquist: New Paintings and Constructions,
Feb. 8-Mar. 2.
Graphicstudio Gallery, University of South
Florida, College of Fine Arts, Tampa, James
Rosenquist: A Retrospective of Prints Made
at Graphicstudio 1971-1996, Apr. 11-
June 27.
—Milani. Joanne "Rosenquist: The Vision
Quest Fhi Tampa Tribune, M.i\ 5, 1996
pP i :
Leo Castelli Gallery, New York, James
Rosenquist, 4 E 77 St 1970 Revisited and
New Paper Constructions from Gemini
G.E.L., Apr. 20-May 18. Exh. cat. with
statement by Rosenquist.
Galerie Thaddaeus Ropac, Paris,
James Rosenquist: Target Practice,
May 14-June 15. Exh. cat. with statement
by Rosenquist.
Feigen, Chicago, Target Practice: Recent
Paintings by James Rosenquist, May 31-
July 26. Exh. cat. with essay by Craig Adcock
and statement by Rosenquist.
Brenau University Galleries, Gainesville, Ga.,
James Rosenquist. Painting and Prints,
July 13-0ct. 4, Exh. cat. with essay by Craig
Adcock.
Gemini G.E.L., Los Angeles, New Paper
Constructions, Sept. 20-Dec.
1997
Galerie Thaddaeus Ropac, Paris,
James Rosenquist: Three Large Paintings,
Feb. 4-Mar. 8.
Heland Wetterling Gallery, Stockholm, Target
Practice, Mar.-Apr. Exh. cat. with statement
by Rosenquist.
Center for Contemporary Graphic Art and
Tyler Graphics Archive Collection, Fukushima,
Japan, The Graphics of James Rosenquist,
Mar. 1-June 15. Exh. cat. in Japanese and
English with essay by Judith Goldman and
interview with Rosenquist by Kaoru Yanase
and Shunichi Kamiyama.
Wetterling Teo Gallery, Singapore,
James Rosenquist: New Works 1996,
Aug. 15-Sept. 30. Exh. cat. with statement
by Rosenquist.
50
SELECT BIBLIOGRAPHY
Compiled by Janice Yang
Mosl citations provide original-publication
information only Reprints or later versions aw
given it commonly referenced or significant!)
revised from the originals, 01 il original sources
are partii ularly diffi< uli to i
Artist Books, Writings, and Statements
by the Artist
Sources died below may also appeal in othei pan
,/„ Seleei Bibliography 01 in the Exhibition History
1963
|ames Rosenquist's 'New Realism.'" In "Young
Talent USA." special issue ol I" in l"""-'
(New York) 51, no. 3 (June 1963), p 48.
Statement in Dorothy ( Miller, ed [mericans
iw,i, p 87 I ich cai rhe Museum of Modem
Art. New York
1968
"Experiences." In James Rosenquisl,p ss ! ■■''
cat., II"-- National Galley ol C anada, Ottawa
1969
"James Rosenquist Horse Blinder* I" Now
VewYork (New York) l.no 2 (Feb 1969
unpaginated Excerpt from a previously
unpublished statement dated De< 12, 1968
rhe statement appears in its entirety in James
Rosenquist,?? 21 29 (Spanish), 196 (English)
Exh [ u IVAM Centre Julio Gonzalez
Valencia, 1991 Irans Javier Garcia Raffi ind
I t.i 1 1\ Smith.
1971
Statemenl in "Gene Swenson A < omposite
Portrait.' flu Registei oj the Museum oJArt
i wrence; i pubhcai ol the University ol
Kansas) 4. 1 Ocl De< 1971). pp. 24 27
1972
"Art Mailbag |ames Rosenquist RepUes
n„ NewYork Ames May 14, 1972, pp 23-24
1977
Statement in Grace Glueck rhe Iwentieth-
( entury \rtists Most Admired by Other
Amsts" Arlnews (Nw York) 76.no 9 (Nov
1977) pp 98 99
1978
Statement in Judith Goldman ' touching
Moonlight \rtnews (New York) 1 no 9
(New 1978), p 62
1979
Rosenquist, James Drawings II hile Waiting
foi an Idea. Nev, York I app Princess Press, 1979
1987
Statement in James Rosenquist Paintings 198 .
unpaginated Exh cat . Heland T/hordcn
WetterUng Galleries, Stoi kholm
1988
Statement in ( atherine Barnett Wis- M n
Fish Hero ■ Irt and Uniques (New York). Feb.
1988, p 91
1990
Statement in James Rosenquisl's < ommissioned
II, „k p 6 Stockholm Painters Posters in
,„„,„ with WetterUng Gallery 1990
1992
si itement in James Rosenquist Paintings
\Q90-i992 pp i Spanish), J1 'I nglisl
cat., Galena Weber, Alexandei j < "I"' Madrid
Statements in James Rosenquist flu Serenade foi
,/„ Dollaflei Claud, Debuss) o\ CiftWrapped
Dolls and Masquerade of tlu Military Industrial
l ompla Looking Doivn on f/ii bisect World,
pp iv ■■■' I Oi cat Galeric rhaddaeiw Ropa<
Paris In English ind French trans Nathalie
Brunet,NeaK ooper, Hclene Gillc Reprinted
in exh cat ,Leo< astelli Gallery. NewYork,
1993, pp 5, 15
Statemenl in Paul Gardner 'Do rides Really
Matter: \rlnew (NewYork) ''I no 2 (Feb
I992),p 95
1993
Statement in Milton Esterow "The Second
Inm \round Jew York) "2
n0 i, (summer 1993), p 152
Statement in Margot Mifflin. "What Do Artists
Dream?' \nnews (NewYork) 92 no B I '
[99 i p l 19
1994
Statement in Eugenia Bom Welcome to
Sponge ( icy." flu VeivYork Ol ei May 9,
1994, p is
1995
si itement in 'Returned to '
Remembering Ray Johnson R S.V.P." irtfontm
(NewYork) 13, no B ^pi 1995).pp 75,113
1996
Statemenl in fames Rosenquist, 4 ' s' '"' "
I and V" Pai nstructiom from Gemini
C.E.I p. 1.1 -li cat Leo< istelli I Gallery,
New V- 1 1.
Statemenl in Etisei Practici Retenl Paintings by
/.,„„ Rosenquist, p. 1 Exh.cal Feigi n I
Reprinted in ]anu Rosenquist VewWbrl
h cat .Wetterling reo Gallery, Singapon
Interviews
Sources cited below may also appeal in othei parts oj
th, Select Bibliography oi in tlu I xhibition History
1964
Swenson. G[ene] R "What is PopAri Part II
Stephen Durkei [aspei [ohns |a i1'^
romWesselmann." I" Vet " "l 0 'l2
,„, |0 (Feb 1964), pp 41.62 64
1965
Swen .Glene] R rh( I 111 \n Interview
with |ames Rosenquisi by G P Swen
partiian Review (New Vbrk) J2 no. 4 (fall 19
pp 589 .,n|
1968
Swenson, Gem Social Realism in Blue
A,, Interview with |ame R iquist." Studio
Internal al London I
pp 76 83
1971
Schjeldahl Petei I ntretii n avei [ames
Rosenquist" I 'An Interview with James
quist") Opus International I
nos 29 30 (De< 1971 pp 16 *9 (French),
Ml 15 (English) Irans Nicola Raw
1972
Siege] |c inne Vn Interview with James
quisi Irlfomm (NewYork) I0.no 10
(June 1972) p| >
1974
ruchman.PhyUii "Pop! Interviews wit!
Vndy Warhol Roy Lichtenstein. James
nquist. and Robert Indiana I
(NewYork) May I974).pp !
1982
Snodgrass, Susan d« Mba "An Intervii m with
th, \i ,n w ho Painti d I lying Bacon
lh. Miami \<« |unt I I I982.se< B pp I
1983
( ummings Paul Inti rview |ames Rosi nquisl
l jia with Paul ( ummings Drawing (New
Y0ry 5,no 2 |uly r\ug 1983) pp 10 14
1987
s, inj I, ,.. iki Mary \ntu |am< i Ros< nquisi
Bomb (New York 21 (fall 1987 pp !4 "'
1990
[ames Rosenquisi Inti •
i„, < i I '"'"'
Rosenquist'i ' ommissioned Works pp 8 58
Stockholm Paintei Po tci ii i • ion with
rling Gall ry 1990
1991
Durand,Rcgis I |U»«
i | ,. ini arnation di imagi l '' |,|r,sl
no 158 (May I991).pp 14 21
Shapiro David ' elebrating I verything." In
'ami Rosenquisi pp 76 84 (Spanish), 209 I '
(] nglish) I «h cai IVAM I entn |uUo
il , Valencia I r lUl ""l
Harry Smith
faylor, Paul Interview with James Rosenquisi
Parketi (Zurich), no 28(1991 pp 11"
,lvhl [22 25 German Irans Brigii
\\, tutein
1992
Bonami.Frati a<Pui Ml1" ""
Pop Flash In (M I 25 no 165 lummei
Goldman (udith \n Interview with |am«
nqi Goldman lames Rosenquist
.,/)■ Pimm 1961 I964.pt 85 104 I <h
an Gallery ind Rizzoli
1992
1993
Whitney David "James Rosenquisi Ini
ofFebruary '.5 1993 Inj R /'«'" ""
,,, fonhi Doll after ( laud, D
Wrapped Dolls and W ''« W«'/Mr]
Industrials omple* Looking Down on tlu Insect
51
il,.-/,/ pp 2-3 Exh cat . Leo ( ascelli Gallery,
New York
1994
VK ocl Interview with James
Rosenquist." In Susan Brundag
in ../ //„ Big Paintings Thirty Yeai
unpaginated New York Leo ( astelli
Gallerj in association with Rizzoli, 1994
1997
Yanase Kaoru and Shunichi rCamiyanu
;, « with James Rosenquist ' In
Ih, Graphics oj 'Jama Rosenquisl pp 16-20
I |apanesc I, 44 49 (English) Exh i at . Centei
i,, i ( ontemporai j I !raphi< An and rylei
Graphics \rchive ( ollection, Fukushima
Articles and Essays
n'on includi fi ■:■ appearing in periodicals,
ollaiiom oj essayi and growp-i ehibition catalogui
Mloway, 1 awrenct I »erealized Epic." Arifonm
(New York) 10, no 1" (Junt 1972) pp 35-41
Amaya, Mario "Artist's I i ation
with | iquist." Architectural Digest I os
Angeles) J7,no 2 (Mai 19 50 52
Arbus, Doon.'The Man in the Paper Sun"
I Journal Tribum Magazim
I \,n 6 I966,pp
"Art: Pop Bing-Bang L indsi apes Tiim
(NewYork) B5.no 22 (Maj 2s I965).p 80
"Art: R.osenquis( and Lit In. nsti in hit Alive."
Inn, (New York) 91, no 4 (Jan 26, 1968), ;
B|atu<uk| ,Gr[egory] 'In the Museums
[ames Rosenqui l Mew York*
,o 6 ' ^pr 1968) p ^4
Bcrti. Paul ' \bout-l >< 1 &om ii.c \bstra< I
Picttin Post-Dispatch magai ii
1961 pr 10-11
Berg, Paul 'Fai Out. but No Laughing Mattel
PUtun • S I dispatch mag i
1964, pp 2-5
Bernstein, Roberta. "Rosenquisl Reflected The
I.imp.i Prints ' "" Prini < u ''■""
(New Yorl A .t \pi 197 1), pp 6-8
Boorsch Suzanne 'New Editions: James
Rosenquisl irtnem (New York) 74, no
(scpt 1975), p. 52
k h Suzanne 'New I ditiom James
Rosenquist." /Irfrifiw (NewYork) 77 no 1 (Jan,
p 136
Brewster, Ibdd 'Evolution ol a Painting / ifi
igo) 4,no.2 deb 1981), pp *4-'>4
Photographs bj Roberl \delman
Brooks \ ilerie I 'The -\rt M.irket Rosenquist's
Market: Pop Art Performs Irfnn NewYork)
83 no J (Mai 1984), p 2"
Nicolas and Elena < alas "James
Rosenquisl Vision in the Vernacular." In
Magazim (New York) 44,no 2 (No\ I
PP 38-39 Reprinted as "James Rosenquist's
Angular \ ista In ( al is ind ( alas r«mj .""/
■i ii„ Sixties NewYork E I' Dutton,
1971, pp 117-22
<. anaday, |ohn Art Well the House t aughl
fire, and- -" TTti NewYork Finn ■ Mai 17, 1968
sec I ), p. 33
i anaday.John "It Would It.' kwfullj Nice If We
Were All Wrong about theWholi Nihil;"
nil SewYork Urnes, Feb 25, 1968. se< 2, p. 23.
( harbonneaux, ( atherine. "Marche Le Pop
I',,, i unes Rosenquisl ( '.onnaissana fi
t osford, Mill "Is It Art"- Asking Is Unnecessary.'
nit Miami Herald, Ma) 15, 1983, ie< I . pp 1.5.
c oupland, I >ouglas "James Rosenquisl /-///"
mm (NewYork) 32,no 8 (Apt 19
pp X4 XS
<. [owart] ,J[ack] ' I lire., t ontemporary
American Paintings ih< Si Louis Art Museum
Bulletin ll no, 5 (Sept I >cl 1975), pp 88-95
I lunlop Beth "Mui il I h ives Borman up the
Wall:' Hii Miami Herald D« B 1981, sec. A.
pp I 14
i , , sioi ralabot, Gerald l es ambiguftes de
fames Rosenquisl X Ki SiMt (Pai is), no 41
pp in-, M
Geldzahlei Henrj "James Rosenquist's F-lll
I In Metropolitan Museum oj in Bulletin
(NewYork) 26.no 7 (Mai I968),pp 276 81
Gladstone Valerie 'James Rosenquisl Vikings
indVodka irtnews (New York) 90 no *
Ocl i "''I pp 73-74
I Grat e "Art People.' Tin NeivYork
rimes. Apt 16. 1982. sec ( ,p 25
Goldman, Judith. "James Rosenquist." In
Contemporary Masters Tin World Print Awards,
pp |o- 52 i •. h cai World Prim < oum il, in
cooperation with the San Francisco Museum ol
Modem Art. i alifornia ( ollege of Arts and
( Mtts (Oakland), and Osaka University of Arts
San Francisco World Prim t ouncil, 1983
man, < athj Lynn "Deserving 1 qual
Space." nil Miami Herald De< 10, 1981,
sec B, p I
I lamilton, Susan Big is Beautiful I In Peak
(Singapore) ll.no 1 18 53
H|ess| . r|hom.is| Ii "Editorial It Shouldn't
Happen to . Hoving Happening." \rtnews
(NewYork) 67 no 2 (Api 1968). p 29
I lorn, I aurie 'Playing < mi. at the An ( enter"
//„ Miami Hew/rf.Apr 2<>, 1983, ecJ p.6
It's Imiinv Rosenquist — An Artist in the
Pop." /'.'• Tower (NewYork) I . no 14
(Apr 10 21 1967) pp 4-5 Photographs by
Bob Adelman
' |arring Blend of Billboard Pie ces.' 1 i/<
a h„ ago) 52, no 24 (June 15, 1962 ,p I 16
[ohnson Philip "Young Artists at the F.ur and .it
Lincoln <• enter" 1./ in Imerica (New York) 52,
no, 4 (Aug 1964), pp 112-21
[ohnson, Raj Abandoned < nickens." Art in
Imerica (New York) 62, no t. (No> -Dec 1974),
PP M7-I12
Kohen, Helen I '"Star Thief Deserves Better
Reputation." //" Miami HcraW.Maj 13, 1983,
p 12
Q Ma* An' "" Nation (NewYork)
206 no IS (Apr 2'>. I968).p 57
Kramer. Hilton "Art A New 1 langar for
Rosenquist's Jet-Pop 'F-lir." /'" NewYork
Inn,-. Kb 17, 1968, p 25
Kuspit, Donald 'James Rosenquisl -The
Fragments of a Romance rhe Romance of the
Fragment." C Magazim (Toronto) no 11 (June
1986), pp 70-73
I eiser. Erwin."James Rosenquist." Frankfurtei
4 llgemeine Magazin (Frankfurt) J4, no 338
(Aug ::. 1986). pp. 13-18
Lingemann, Susanne "Mystikei mil Hang air
Crosse". -1" Das Kunstmagazin (Hamburg),
no | (Mai 1993), pi' 7x-lM
1 ippard, Lucy R "James Rosenquist Aspects ol
.i Multiple Art [rtforum tl os Angeles) 4. no 4
(Dec 1965), pp 41-45
Litt. Steven "Icon of the Sixties." The Plain
Dealei (< leveland, Ohio). Ocl 26, 1991, sec K
pp. 1-2
I oft, Kurt Film on James Rosenquist
Paints Artist into a I orner." I h< Tampa Tribune,
Mi) 22. 1987, set F,p 3
I ,,n Knrt "James Rosenquist." /'"■ /,»"/>.'
Tribune, Ma) 20, 1984, sei G.pp 1- 2
I oring, |ohn James Rosenquist's Horse
Blinders." Irts Magazim (NewYork) 4~.no 4
I 1 l')73).pp '.4 <o
I ucofl Morton and Donald I' Mvers "Flying
Bacon Thi Miami News I >e< B, 1981, sec A.
pp. 5-6
Marker. M..r\ Ann Inside the World "I a I'op
Artist " M Petersburg Times, Maj 12 1987, D
PP 1.4
Martin, Judy Wells "'Days ol Miracles Haven't
Ended for Murals Wizard.' "« FloridaTimes-
l nion (J.uksonv. lie). June 14, l'<7S, see A, p. 10.
McGill, Douglas t "< me ol Pop Art's Pioneers
Is Making Waves Again." r7i< New York Times,
June 22 I ''St. set 2 pp I. 2'<
Mi « nil, I »ouglas i "Pop Artist Rearranges
Modern Lite Sarasota Herald-Tribune, June 29,
1986, sei G.pp 1,4.
52
Mi < .ill I touglas ( "Pop Goes the Brush"
St Petersburg Timt f, |ul) 6, 1986, se< I pp I I
McGuigan,( athleen "Newsmakers." Newsweek
(Los Angeles) 99, ao, 4 (Jan 25, 1982), p 61
M[essinger] 1 [isa] M "Twentieth < entur)
James Rosenquist " In "Recent Acquisiti.nr.
\ Selection 1993-1994," special issue ol Tht
Metropolitan Museum oj \>t Bulletin (New York)
52,no 2 (fall I994),p 73
M[essinger]., L[isa] M "Twentieth < entur)
fames Rosenquist " In "Recent Acquisitions
A Selection 1995 1996 "special issue ol Tin
Metropolitan Museum oj in Bulletin (New York)
S4.no 2 (fall I996).p 64
Miro, Marsha Stai I Kiel Invades 1 »IA Detroit
i „, /•„... Feb I". 1987, se< I >. p 8 Photographs
by Mann\ Crisostomo
Nelson. Garet "Artist Honored lor I'op
Prowess." Si Petersburg rimes, Hernando
rimes ed . Ma) 7, I987,pp. 1,7
Osborne, < atherinc "A brush with Greatness."
Profiles, in, (New York) I. no I (Mar 1988),
pp 14-35 72
Per reault, John "An [bo Much of the Same."
The I Wage Void (New York) 13, no 19 (Feb. 22,
1968). p 18
Pincus-Witten, Robert Rosenquist and
Samaras The Obsessive Image and Post-
MinimaUsm." irtforum (New York) ll.no. I
(Sept 1972), pp '<7' 69
Porter. Hob "Rosenquisl Has Local he"
Dallas nimei Herald, [an 6 I966,sec A.p 14
"Prints and Portfolios Published [ames
Rosenquisl Night Transitions." Thi Print
Collector's Newsletter (New York) l6,no 5
(Nov.-Dec. 1985), p, 17''
Prints and Portfolios Published James
Rosenquist, Off the Continental Divid*
I'h, Print Collector's Newslettei (New York) 5,
„o 1 (Jul) \ug 1974), p 66
"Prints and Portfolios Published James
Rosenquisl I ime Moor I ime D'Oi
//„• Pn'fii ( ollector's Newslettei (New York) 21,
no. I (M.ir-Apr 1990), p 26
Reit". Kit.i "James Rosenquisl Painting
Auctioned tor Record Price." The NewYork
rimej,No\ 13, 1986 p 21
"Rosenquisl Hearst Mural." I" World (New
York) 12, no I (Ocl No> is, I987),p. 1.
Sandberg, Bets) I ife James Rosenquist."
rhi Daily Freeman (Kingston, NY), Dei
1986. p. 7
Scull Robert ( "R« the F-lll r\ ( oil
Notes" The Metropolitan Museum oj I" Bulletin
(NewYorki 26,no 7 (Mar I968),pp 282-83
Shepard, Richard I loWhat Lengths Can Art
i „, //„ NewYork Times, May 13, 1965, p. I
Slesin, Suzanne New York Artists in Residence:
James Rosenquist." Artnews (Nev. York) 77.
no. 9 (Nov 1978), p. 70.
Sparks, Esther "James Rosenquist." In Sparks
/ un;".il limited Art Editions 1 History and
Catalogue The First Twenty-five Years, pp 256 69
Exh cal ( hicagO The Art Institute ofChii
NewYork: Harry N Abra.ns. 1989
Stallings, Dianne " The Good News:Aripcka
Artist's Mural Lures S2 09 Million" Si Petersburg
Times, Hernando Times ed., No\ 14 1986,
pp. 1,10
Sterckx, Pierre 'La peau du collage selon Ibm
wesselman [sic] et James Rosenquisl ' Irtstudio
(Paris).no 23 (winter 1991), pp *4 95
Stevenson, Wade. "Rosenquist, le peintre de
I'imaginaire-reel." KXt Siich (Paris) no J'
(June 1975), pp 155 61 Inns Georgette
Minazzoli.
Story, Richard David "James Rosenquisl " USA
Today | Arlington. Va.). Nov 13, 1986, se< D, p 5
Swenson.Gem "The Figure a Man Makes'
Parts I 2 in and Irtists (NewYork) 3. no I
1968), pp 26- 29; no 2 (Ma) I9i
pp 42 4S Reprinted is "James Rosenquisl
The Figure a Mm Makes" in "Gene Swenson
Retrospective for a Critic Ocl 24-1 1
1971 "special issu* ol 17i« Register of the Museum
oj \n (Lawrence; a publication ol the University
of Kansas) 4 nos ',-7 (1971), pp 53-81
Tallman, Susan "Big." irts Magazine (Nev. Y
65, no 7 (Mar 1991), pp 17-18
I illiui. Sidne) "Rosenquisl at the Met -\
Garde or Red Guard: Irtfomm (Nev. York) '>.
no 8 (Apr 1968), pp 46 49
Trini.Tommaso "L la via Rosenquist." Domus
(Milan), no JS-s (< »C| 1967) pp 46 4''
In Italian uid I nglish
Tully.Judd "Rosenquist Work Brings
Million ' The Washington Post, No\ 13,1986,
p 13
Ivkr. Ken "The Piper Dance.' In Masiet Prints
by Hockm y, Johns, Rosenquist, and Stella from the
Ulja Collection, pp 1 14-47. Exh cal Vaduz
1 iechtenstein I he Lilja Art I und I oundation in
association with the Henie-Onsl id Arl < enter.
Hovikodden, Norway, and Azimuth Editions
1 ondon, 1995
van der Marck.Jan ' Of< ours, it- Art, and the
Bacon Reall) Flies." Thi Miami News Feb is
1982, set r\ p 9
"The 'V.is.in' I )i..r\ 'Like Sending a Rockei into
spue" Irtnews (Nev. York) 78,no 5 (Ma) 5
I979),pp 12-13
Wallach.Amei "Making a Mural Emerge fo
Printing Press." Newsday (NewYork) Ma) 19,
1974, pan 2,pp 19 20
Wolf. Erie.. "James Rosenquisl In Sam
Hunter Selections from tin Ueana and Michael
Sonnabend < ollttlion Wbrh from the 1950s and
1960s pp 85-87 Exh cat.,TheArl Museum
Princeton University, 1985
Ynclan, Nery "'Star 1 hiefTakes Ofl to I inal
Day Acclaim." Uf Miami Herald June 6, 1983,
set B,p J
Books
This tection includes books, chapter: oj books, sections
qj dissertations, and brochures unrelated to ■ xhibitions,
as well as telecl book reviews s""'" «ted below may
also appeal in the I thibition History
•\dlei Edward |crome "James Rosenquisl
Chaptei in "American Punting and the
Vietnam War, pp '" I 92 Ph D diss .
New York University, 1985
Amaya, Mario. "James Rosenquisl In Vmaya
and iftei Ness York Viking P
1966, pp ''i 96
Brundagi Susan i d James Rosenquist, Hi
Paintings Thirty Years, Leo Castelli NewYork
i ... i ,..i, Hi Galler) in assoi iation with Rizzoli,
199 i Published limultani ously with the
exhibition James Rosenquist i7i< Thirtieth
[nniversary I xhibil • Hi < rallery,
New V
—"What It Is" Irtnews (New Yorl 94
no ! (Feb 19
t Henn ( onstam i W Timi I Hut, Jam* i
Rosenquist < omplett Graphics 1962 1992 New
York Rizzoli, in association with tin I Iniversit)
Art Museum, ( .ihiornia State Univei lit) I ong
Beach, 1993 Published in i onjuni don with the
exhibition organized b) the Univenit) Art
Museum ( ilifornia State University I ong
Bi a< h. and originating at the Walker Art (. enter.
Minneapolis
Goldman, Judith James Rosenquist NewYork
Viking Penguin, 1985 Published simultaneous!)
with the exhibition Janus Rosenquist Paintings
1961 1985 organized b) the I lenvi i \ri
Museum
— Heaiiin s. I leanoi Hooks Mixing I u i
( lirls and Pipe romatoes Irtnews (Ni h
York) HS.no J (Mai 1986), pp 44 -^
Sandback.Am) Bakei ' Hooks |
Rosenquisl Irtforum (Ni w York) 'A no I
D, 198 i pp i > 16
Jam< Rosenquisl Welcomt to tin Watei Planet and
House o) Fire, 1988 1989 Essa) b) fudith
Goldman Mouni Kisco n V [yiei Graphics
1989 Published on the o< i asi >l i I uropi
exhibition Welcomt to tin Watei Planet
originating ai Heland W tterling I laller)
Stockholm, and organized b) Met Graphics,
and a traveling Ami rii an exhibition /.
..„,., Wtlconu to On Watei Planet
originating al and organized b) ["he Museum ol
Modern Art, New I
[if /it! I ommi lioned H d
Stockholm Painters Posters in usociation with
Wetterling Gallery, 1990
I arson, Philip James Rosenquist Tim I
Mourn Kisco N \ tylei Graphics, 1992
53
Acknowledgments
Oceans and continents have been crossed in order to realize a major mural
by James Rosenquist within the new exhibition spaces of the Deutsche
Guggenheim Berlin. The idea of commissioning Rosenquist to create this
monumental work— an important act of international patronage— was that
of the Guggenheim's Director, Thomas Krens. After the project was
launched, he, Lisa Dennison, Deputy Director and Chief Curator, and I made
several trips from New York to the artist's home and studio in Aripeka,
Florida, in order to survey the work in progress and to discuss with the
artist the various and changing directions that the work might take en route
to its final destination in Berlin. Meanwhile, one of the three paintings that
comprise The Swimmer in the Econo-mist made its debut at the opening of
the Guggenheim Museum Bilbao in October 1997, offering a sneak preview
of its final and complete display in Berlin in March 1998.
I must extend my greatest thanks to James Rosenquist himself.
Throughout this evolutionary period, he was admirably flexible, responding
to questions and suggestions about which way to turn next. The immense
problem of completing a wrap-around mural revived, in both sheer dimen-
sions and lofty ambition, many of the frescoed walls of the Italian
Renaissance. In effect, he has created, more than three decades later, an
update of his epic masterpiece, F-lll (1964-65).
Supporting this complex enterprise was a curatorial staff that was
not only well informed about the artist's work, but that was wonderfully
efficient and reliable. I refer to Julia Blaut, Assistant Curator, who coordi-
nated all aspects of this exhibition and catalogue, and to Janice Yang,
Project Research and Exhibition Assistant, who in addition to her many
other responsibilities, compiled the exhibition history, bibliography, and
text photographs.
Many other individuals at the Guggenheim contributed their expertise
to ensure the successful realization of this exhibition. I thank all of them
for their indispensable assistance and dedication. I am extremely grateful
to Karen Meyerhoff, Director of Exhibition and Collection Management and
Design, who has been invaluable in planning the installation, and to Jocelyn
Groom, Exhibition Design Coordinator, who has worked with her. Thanks
are also due to Suzanne Quigley, Head Registrar, Collections and Exhibitions,
who has expertly coordinated the shipping and insurance of the works, and
to Paul Schwartzbaum, Chief Conservator, Guggenheim Museums, and Julie
Barten, Assistant Conservator, who have supervised the preservation of the
paintings and drawings. David Heald, Chief Photographer and Director of
Photographic Services, provided counsel on photographic issues, ensuring
that Rosenquist's murals be reproduced with the utmost accuracy, and
Ellen Labenski, Assistant Photographer, photographed the drawings and
working plans. The installation team, consisting of Steve Plaxco, Installation
Specialist, Claus Maier, Jan Pippardt, Uwe Rommel, and Kai Volkmann, was
outstanding. I am also thankful for the contributions made by Marilyn JS
Goodman, Director of Education; Judith Cox, General Counsel and Deputy
Director; Gail Scovell, Associate General Counsel; Julie Lowitz, Assistant
General Counsel; Scott Gutterman, Director of Public Affairs; Julia
Caldwell, Public Affairs Coordinator; Jocelyn Brayshaw, Chief Preparator;
Liz Jaff, Assistant Preparator/ Paper; Laura Latman, Collection Registrar;
Ultan Guilfoyle, Director of Film and Video Production; and Allison Lane,
Producer.
Thanks also go to curatorial interns Joanna Berman, Joanna Clark,
Lai Orenduff, Sonya Sinha, and Daphne Walker, who enthusiastically pro-
vided assistance on numerous aspects of this project.
I would like to express my gratitude to Paul Pincus, Project Director,
Development and Communications; Max Hollein, Executive Assistant to the
Director; Ben Hartley, Director of Communications; and Kira von Eichel,
Project Assistant, for their tireless efforts and deft coordination of prepara-
tions between cities separated by land and sea.
Our colleagues in Germany have been crucial in bringing this exhibi-
tion to fruition. I wish to extend my thanks especially to Dr. Ariane
Grigoteit, Friedhelm Hutte, and Britta Farber of Deutsche Bank, and to
Svenja Simon, Gallery Manager, Deutsche Guggenheim Berlin. This exhi-
bition would not have been realized without their hard work and support.
54
The catalogue could not have been published without the adept super-
vision of Anthony Calnek, Director of Publications, and the efficiency of the
Publications Department. I am grateful to Elizabeth Levy, Managing Editor/
Manager of Foreign Editions, and Melissa Secondino, Production Assistant,
for expertly overseeing the catalogue production. My appreciation also
goes to Jennifer Knox White, Associate Editor, and Domenick Ammirati,
Editorial Assistant, for their careful editing of the text.
Special thanks must go to Margot Perman and Catherine Woodman
of Real Design for designing this elegant publication. We are also grateful
to contributing author Judith Goldman, preeminent Rosenquist scholar, who
contributed an important essay.
In organizing this exhibition and compiling the catalogue, many
people generously supported our research efforts. I would like to acknowl-
edge in particular Richard L. Feigen, Frances Beatty, and Lance R.D.
Thompson of Richard L. Feigen & Co. and Thaddaeus Ropac of Galerie
Thaddaeus Ropac for sharing their expertise. I also thank Joanna Stasuk
and Amy Poll at Leo Castelli Gallery for their assistance in compiling pho-
tographic materials.
The staff at the artist's studio provided valuable assistance every
step of the way. Beverly Coe, Administrative Assistant, and Cindy Hemstreet,
Administrative and Curatorial Assistant, were unflappable and always
gracious and precise in responding to our myriad requests. Michael
Harrigan, Curator and Archival Specialist, provided important materials
for establishing an accurate account of the artist's career. Thanks must also
go to Tony Caparello, Color Mixer, Painter, Studio Assistant; Kevin Hemstreet,
Carpentry, Installer; Darren Merrill, Carpentry, Installer; Vadim Syrovoy,
Studio Assistant; and John Spinks, Studio Manager.
Robot Rosenblum
Curator of Twentieth-Century Art
55
The Solomon R.Guggenheim Foundation
Honorary Trustees in Perpetuity
Solomon R. Guggenheim
Justin K.Thannhauser
Peggy Guggenheim
Chairman
Peter Lawson-Johnston
President
Ronald O. Perelman
Vice-Presidents
Robert M ( Gardiner
Wendy L-J. McNeil
Vice-President and Treasurer
Stephen C. Swid
Director
Thomas Krens
Secretary
Edward 1 Rover
Honorary Trustee
(. I.nuie Pompidou
Trustee Ex Officio
Luigi Mom hen
Director Emeritus
Thomas M Messer
Trustees
Giovanni Agnelli
Jon Imanol Azua
Peter M. Brant
The Right Honorable Earl Castle Stewart
Mary Sharp Cronson
Elizabeth L Dingman
Gail May Engelberg
Daniel Filipacchi
Robert M. Gardiner
Barbara Jonas
1 >avid H Koch
Thomas Krens
Peter Lawson-Johnston
Samuel J. LeFrak
Rolf-Dieter Leister
Peter B. Lewis
Peter Littmann
Wendy L-J. McNeil
Edward H. Meyer
Ronald ( > Perelman
Frederick W Reid
Richard A. BJfkind
Denise Saul
Rudolph B. Schulhof
Terry Semel
|. mies B. Sherwood
Raja W Sidawi
Seymour Slive
Stephen C. Swid
John S. Wadsworth.Jr.
Cornel West
Michael F.Wettach
John Wilmerding
William T.Ylvisaker
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